With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man with the Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.

    From the gore of the infant alien bursting from Kane’s chest to the mounting claustrophobia as Ripley discovers the monster has followed her into the escape shuttle, Alien is a chilling masterpiece.Now, Alien Vault: The Definitive Story of the Making of the Film opens a portal into the making of this legendary film, tracing its path from embryonic concept to fully fledged box office phenomenon.Featured herein are director Ridley Scott’s own annotated storyboards, Polaroids and script pages; the elegant but disturbing concept artwork of H.R. Giger; sketches and construction blueprints for the Nostromo; costume designs by Moebius; a treasure trove of never-before-seen photographs of the cast and crew; and ten meticulously reproduced artifacts, enclosed in vellum envelopes, for readers to remove and examine more closely.Fully authorized and illustrated throughout, Alien Vault is the ultimate tribute to a movie that changed cinema forever.

    It's a little more complicated than that..." All will be revealed in the Official Visual Companion, featuring in-depth interviews, the full screenplay by Whedon and Goddard, stunning production art, and hundreds of color photos!

    It’s about the language of video and how to think like a director, regardless of equipment (amateurs think about the camera, pros think about communication). It’s about the rules developed over a century of movie-making—which work just as well when shooting a two-year-old’s birthday party on your phone. Written by Steve Stockman, the director of the award-winning feature Two Weeks, plus TV shows, music videos, and hundreds of commercials, How to Shoot Video That Doesn’t Suck explains in 74 short, pithy, insightful chapters how to tell a story and entertain your audience. In other words, how to shoot video people will want to watch. Here’s how to think in shots—how to move-point-shoot-stop-repeat, instead of planting yourself in one spot and pressing “Record” for five minutes. Why never to shoot until you see the whites of your subject’s eyes. Why to “zoom” with your feet and not the lens. How to create intrigue on camera. The book covers the basics of video production: framing, lighting, sound (use an external mic), editing, special effects (turn them off!), and gives advice on shooting a variety of specific situations: sporting events, parties and family gatherings, graduations and performances. Plus, how to make instructional and promotional videos, how to make a music video, how to capture stunts, and much more. At the end of every chapter is a suggestion of how to immediately put what you’ve learned into practice, so the next time you’re shooting you’ll have begun to master the skill. Steve’s website (stevestockman.com) provides video examples to illustrate different production ideas, techniques, and situations, and his latest thoughts on all things video.

    He also surveys the historical origins of the archetypal monsters, such as vampires, zombies, and werewolves, and takes you behind the scenes to discover the secrets of those special-effects wizards who created such legendary frighteners as King Kong, Dracula, and Halloween's Michael Myers. With more than 1000 stunning movie stills and posters, this book is sure to keep even the most intense fright-seekers at the edge of their seats for hours!

    Among this virtual army of hometown participants were numerous professional and amateur photographers, each with full access to the production’s inner workings—for the first time ever this compiles their behind-the-scenes photographs and stories into a treasure trove of Jaws rarities. Included are a foreword by director Steven Spielberg, interviews with production designer Joe Alves, screenwriter Carl Gottlieb, location casting director Shari Rhodes, and more, providing an unprecedented all-access pass to the creation of some of the most memorable and terrifying scenes in film history. This unique compendium is the first to focus on the production’s local participants, telling their stories at last.

    Brian Selznick takes readers on an intimate tour of the movie-making process as his Caldecott Award-winning book The Invention of Hugo Cabret is turned into a 3-D major motion picture by Academy Award-winning director, Martin Scorsese, written by Academy Award-nominated screenwriter, John Logan. Lavishly illustrated with full-color photographs from the movie, and filled with fun, informative interviews of the cast and crew, comparisons of artwork from the book alongside people, props, costumes, and sets from the movie, plus fascinating information about automatons, filmmaking pioneer Georges Melies, and an essay on the birth of movies written by Martin Scorsese, The Hugo Movie Companion beautifully extends the experience of the book and the movie, and is a must-have for fans of all ages.

     This sumptuous hardcover edition, with a foreword by George Lucas, features over 250 pieces of artwork, including all of Drew's most iconic movie images, as well as other highlights from his career, including album, book and comic book covers, stamps, trading cards, promotional artwork and very personal original works. The book comes right up to date, including exclusive San Diego Comic-Con poster art produced for The Walking Dead (2010) and Cowboys & Aliens (2011), with text by his wife Dylan, providing an intimate look at the man and his legacy. The definitive collection of Struzan's work; this is an absolute must-have for any movie buff and an unrivalled slice of both art and cinema history.

    Includes more than 200 diagrams illustrating camera positions.

    Here is a rare and wonderfully insightful chance to experience all of these films, and the history and process of moviemaking in general, through the words and wit of the master director. Richard Schickel’s canny and intelligent interviews guide us through Scorsese’s life and work, from the child who escaped the realities of Little Italy in the 1950s through movies to the man whose increasingly encyclopedic knowledge of film shaped his ambitions and art. Scorsese reveals which films are most autobiographical and which have been forays into unknown territory in content or aesthetics. He talks about his lesser-known movies, those already considered classics, his documentaries, and his influences. He explains his personal style, the close attention he pays to detail, and his attraction to genre films. And he discusses what being a lifelong student of film has taught him about acting, directing, music, and camerawork, among many other topics. The result is a vivid, immensely enlightening history of modern Hollywood seen through the eyes of one intrepid filmmaker. We see audiences’ expectations tested by what Scorsese was willing to put on the screen in explorations of prostitution, institutionalized violence, and religion. We see the unavoidable frustrations and exhilarating rewards of filming live concerts for The Band and at Woodstock. And we see many of the rewarding artistic and personal relationships of Scorsese’s career, including collaborations with Robert De Niro, Harvey Keitel, Jack Nicholson, and Leonardo DiCaprio. An invaluable appreciation of one of our most admired film directors.

    His films, from Pather Panchali in the mid-1950s to Agantuk in the 1990s, changed the way the world looked at Indian cinema. But Ray was not only a film-maker. He was also a bestselling writer of novels and short stories, and possibly the only Indian film-maker who wrote prolifically on cinema. This book brings together, for the first time in one volume, some of his most cerebral writings on film. With the economy and precision that marked his films, Ray writes on the art and craft of cinema, pens an ode to silent cinema, discusses the problems in adapting literary works to film, pays tributes to contemporaries like Godard and Uttam Kumar, and even gives us a peek into his experiences at film festivals, both as a jury member and as a contestant. Published in association with the Society for the Preservation of Satyajit Ray Films, and including fascinating photographs by and of the master, Deep Focus not only reveals Ray's engagement with cinema but also provides an invaluable insight into the mind of a genius.

    This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of Fight Club from a philosophical perspective. Topics discussed include:Fight Club, Plato's cave and Descartes' cogito moral disintegration identity, gender and masculinity visuals and narration.Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.

    In Horror Noire: Blacks in American Horror Films from 1890's to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself.Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre's racialized imagery, as well as the narratives that make up popular culture's commentary on race.Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian "Nollywood" Black horror films. Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen.

    In this new edition, Kim Newman brings his seminal work completely up-to-date, both reassessing his earlier evaluations and adding a second part that assess the last two decades of horror films with all the wit, intelligence and insight for which he is known. Since the publication of the first edition, horror has been on a gradual upswing, and taken a new and stronger hold over the film industry.Newman negotiates his way through a vast back-catalogue of horror, charting the on-screen progress of our collective fears and bogeymen from the low budget slasher movies of the 60s, through to the slick releases of the 2000s, in a critical appraisal that doubles up as a genealogical study of contemporary horror and its forebears. Newman invokes the figures that fuel the ongoing demand for horror - the serial killer; the vampire; the werewolf; the zombie - and draws on his remarkable knowledge of the genre to give us a comprehensive overview of the modern myths that have shaped the imagination of multiple generations of cinema-goers.Nightmare Movies is an invaluable companion that not only provides a newly updated history of the darker side of film but a truly entertaining guide with which to discover the less well-trodden paths of horror, and re-discover the classics with a newly instructed eye.

    Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page.

    Hundreds of rare and previously unseen stills help to create a rich souvenir of Hammer’s legacy, from the X certificate classics of the 1950s to the studio’s latest productions. Written and compiled by the official Hammer Films historian Marcus Hearn, and featuring exclusive contributions from the actors and filmmakers associated with the company, this is the most lavish book ever published on the legendary House of Horror. Highlights include:  - Letters to and from some of the company's stars  - Pages from Peter Cushing's scrapbooks  - Pages from the scrapbook of managing director Michael Carreras  - Pre-production artwork, and poster artwork from films that were never made  - Production designs - Rare and previously unpublished photos

    But when flowers, cards, and candy don't cut it—what can the boys do for their special chipmunks?

    Its tale begins with a small team of craftspeople, engineers, and artists who pioneered analog effects that had never before been attempted or realized on the screen for Star Wars. Industrial Light & Magic continues their story through the effects facility’s mind-bending work, over the following three decades, on more than three hundred films—from optical printing to the digital and computer-generated-effects era. A behind-the-scenes record of the state-of-the-art innovations that have driven moviemaking magic, the book features candid stories from the filmmakers, artists, and technicians who were there, breaking barriers and changing the history of cinema with their early work on cultural landmarks, such as the Star Wars saga, the Indiana Jones series, E.T., Terminator 2, and Jurassic Park. Industrial Light & Magic: The Art of Innovation is the first and only book to focus on the company’s work during the last sixteen years, detailing its creative and technological innovations on dozens of blockbuster films. Through firsthand accounts of the problem solving that has pushed the art form of visual effects to its limits and created visual experiences that could only have been dreamed of in the past, the book features extensive commentary by George Lucas, Dennis Muren, John Knoll, Scott Farrar, Roger Guyett, Ben Snow, Rob Coleman, Lorne Peterson, and many others. Their accounts are supplemented by more than 400 images from many of ILM’s breakthrough movies, such as the Pirates of the Caribbean trilogy, Transformers, Iron Man, and the Star Wars Prequel Trilogy, offering a crash course on the most groundbreaking visual effects created today. Praise for Industrial Light & Magic: “If you loved the movies, chances are good you’ll love this book.” —Georgia Times-Union

    He's best know as the empathetic android Bishop in Aliens and the intuitive criminal profiler Frank Black in the TV series "Millennium," but he has also played gunfighters and gangsters, an astronaut, a vampire, a sadistic monk, Charles Bronson and Abraham Lincoln. He's mentored Tarzan, Evel Knievel and the Antichrist, and fought Terminators, Aliens, Predators, Pinhead, Bigfoot, Superman, the Autobots, Mr. T, Jean Claude Van Damme and Steven Seagal. He's worked with directors James Cameron, Steven Spielberg, Kathryn Bigelow, Walter Hill, Sidney Lumet, Francois Truffaut, John Huston, David Fincher, John Woo, Jim Jarmusch and Sam Raimi... But this is just skimming the surface.Henriksen is a true artist - a painter, a potter and a creative collaborator who brings complexity and humanity to all of his work by drawing on real life experiences that are often stranger than fiction. His biography not only celebrates the actor's screen persona, film by film, but also recounts the chaotic upbringing and early life experiences that shaped him, revealing the man behind the image. As Lance so candidly states, "This isn't just a book about me becoming an actor. It's about all the people I've crossed paths with over the years who have helped me flourish in spite of the chaos in my early life. It's about a lifelong process of becoming a human being."

    Directors Tell the Story offers rare insight and advice straight from two A-list television directors whose credits include Monk, Grey's Anatomy, Desperate Housewives, Weeds, and more. They direct dramas and comedies using the same process that Steven Spielberg (or any other movie director uses)-just with less money and time.Learn what it takes to become a director: master the technical aspects, appreciate aesthetic qualities, and practice leadership, all while exuding that "X" factor that distinguishes the excellent director from the merely good one. Covering everything from prep, the shoot, and post, the authors emphasize how aspiring directors can develop a creative vision-because without it, they are just technicians.Hands-on and practical, this book lets you not only read about the secrets of directors, it also includes exercises using original scripted material. The companion web site includes scenes from the authors' own TV shows, along with the scripts, shot lists, and other materials that made the scenes possible.Key Features* Highly experienced Hollywood directors share inside information about what it really takes to be a director, giving the advice that readers covet.* Covers everything a director needs to know: the creative vision, how to translate script into a visual story, establishing the look and feel, selecting and leading a crew, coaching actors, keeping a complex operation on time and on budget, overseeing the edit, and troubleshooting through the whole shoot. * "Insider Info" sections feature interviews, advice, and tips from film and TV luminaries whose productions include Private Practice, Monk, Brothers & Sisters, Desperate Housewives, The Informant, American Beauty, and more!* Hands-on exercises help you understand and master the craft of directing.

    1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Bu-uel and Salvador Dali's Un Chien Andalou. In attempting to reinvigorate the experience of movie-going with his shock comedy, Waters has been willing to take the chance of offending nearly everyone. His characters have great dignity and resourcefulness, taking what's different or unacceptable or grotesque about themselves, heightening it and turning it into a handmade personal style. The interviews collected here span Waters's career from 1965 to 2010 and include a new one exclusive to this edition.Waters began making films in his hometown of Baltimore in 1964. Demonstrating an innate talent at capturing the hideous and crude and elevating it to art, he reached international acclaim with his outrageous shock comedy Pink Flamingos. This landmark film redefined cinema and became a cult classic. Appearing in this and many of Waters's early films, his star Divine would consistently challenge gender definitions.With Polyester, Waters entered the mainstream. The film starred Divine as an unhappy housewife who romances a former teen idol played by Tab Hunter. Waters's commercial breakthrough, Hairspray, told the story of Baltimore's televised sock-hop program, The Corny Collins Show, and how one brave girl (Ricki Lake) used her platform as a dancer to end segregation in her town.From Serial Mom and Pecker to Cecil B. Demented, Waters continued to infiltrate the mainstream with his unique approach to filmmaking. As a visual artist, he was given a retrospective at the New Museum of Contemporary Art in 2004, which was shown at galleries around the world.

    For more than forty years, generations of movie lovers have relied upon Leonard Maltin to help them decide what to watch. Comprehensive, trustworthy, and the most established guide on the market, Leonard Maltin's 2012 Movie Guide includes:More than 10,000 DVD and 14,000 video listings An updated index of leading performers and an index of leading directors Old and new theatrical and video releases rated **** to BOMB Reviews of little-known sleepers, foreign films, rarities, and camp classics All-new personal recommendations for movie lovers And sources for buying and renting DVDs

    Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.

    Through detailed readings of more than 100 films set in suburbs, small towns, on the road, in the desert, borderlands and the vast, empty West, the author investigates the alienation expressed by film noir, pinpointing its motivation in the conflict between desires for escape, autonomy and freedom--and fears of loneliness, exile and dissolution. Through such films as Out of the Past, They Live by Night and A Touch of Evil, this critical study examines how film noir reflected radical changes in the physical and social landscapes of postwar America, defining the genre's contribution to the eternal debate between the values of individualism and community.

    From horror to romance, noir to slapstick, adventure to tragedy, western to new wave, this selection gathers the greats of 20th century cinema into one indispensable guide to movie gold. The collection is arranged chronologically and in an extra-handy format. Film entries include a synopsis, cast/crew listings, technical information, actor/director bios, trivia, and lists of awards, as well as film stills, production photos, and the original poster for each film. From Metropolis to Modem Times, A Clockwork Orange to Bunuel's The Young and the Damned, from the blockbusters to lesser-known masterpieces, thumb through and transform a quiet evening into an unforgettable screen encounter.

    –– A unique insight into the creative processes of one of the world’sgreatest film-makers, from his first shorts to his most recentmasterpieces, through interviews given throughout his career tohis friend Michael Henry Wilson, starting in 1974–– Exceptionally full documentation from his personal archives,including family photographs, photographs taken on set, originalscripts, sketches, notes and storyboards–– A key reference work for both the many fans of the director of MeanStreets (1973), Taxi Driver (1976) and Casino (1995), and for industryprofessionals looking for keys to the master’s work–– His recent films (The Departed, 2006; Shutter Island, 2010) have enjoyedmajor popular and critical success–– Includes a biography and a complete filmography

    A sweeping family saga spanning 1898 to 1984 - stretching from the mining fields of South Wales to the film sets of Hollywood and from the playhouses of Cardiff to the grand theatres of Broadway - this far-reaching biography examines every detail and facet of the life of one of Britain's greatest-ever actors, Richard Burton.

    If you love movies—and the writers who engage them—and just happen to have followed two of the highest circulating daily papers in the country, then you probably recognize the name of the intellectually dazzling writer who has been penning pieces on American and foreign films for over thirty years. And if you called the City of the Big Shoulders home in the 1970s or 1980s and relied on those trenchant, incisive reviews from the Chicago Reader and the Chicago Tribune to guide your moviegoing delight, then you know Dave Kehr. When Movies Mattered presents a wide-ranging and illuminating selection of Kehr’s criticism from the Reader—most of which is reprinted here for the first time—including insightful discussions of film history and his controversial Top Ten lists. Long heralded by his peers for both his deep knowledge and incisive style, Kehr developed his approach to writing about film from the auteur criticism popular in the ’70s. Though Kehr’s criticism has never lost its intellectual edge, it’s still easily accessible to anyone who truly cares about movies. Never watered down and always razor sharp, it goes beyond wry observations to an acute examination of the particular stylistic qualities that define the work of individual directors and determine the meaning of individual films. From current releases to important revivals, from classical Hollywood to foreign fare, Kehr has kept us spellbound with his insightful critical commentaries. When Movies Mattered will secure his place among our very best writers about all things cinematic.

    During those tumultuous years horror cinema flourished, proving as innovative and unpredictable as the decade itself. Representative titles include Night of the Living Dead, The Haunting, Carnival of Souls, Repulsion, The Masque of the Red Death, Targets and The Conqueror Worm. An historical overview chronicles the explosive growth of horror films during this era, as well as the emergence of such dynamic directorial talents as Roman Polanski, George Romero, Francis Ford Coppola and Peter Bogdanovich.

    Only on such rare occasions as Ingmar Bergman's The Virgin Spring, John Boorman's Deliverance and Quentin Tarantino's Kill Bill has the rape-revenge movie transcended what is commonly assumed to be its intrinsically regressive nature.

    Moreover, with its emphasis on soldiers returning from war with post-traumatic stress syndrome, facing an uncertain economic climate, and strained domestic lives, the film speaks with emotional power directly to contemporary issues, including the devastating injuries and insecurites faced by soldiers returning home from combat in Afghanistan and Iraq today. Among the topics discussed are American neorealism, aesthetics, war and homecoming, and more.

    Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, but her incredible adventures blur the lines between what’s real and what is imaginary…with potentially tragic consequences. In this official book, Snyder guides you through the many amazing worlds and characters of the film, with eye-popping production art and stunning photographs by Clay Enos (Watchmen: Portraits).

    Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing. His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse."These are Béla Tarr’s introductory words at the beginning of his film, which picks up the narrative immediately after these events, and is a meticulous description of the life of the driver of the hansom cab, his daughter and the horse.

    NA

    Famous around the world for their brash originality and bright, clear graphic sensibility, Cuban cinema posters of the Revolutionary era are held in as high esteem as the moodier and more abstract Polish film posters of the same era. Susan Sontag devoted a good part of her noted 1970 essay, "Posters: Advertisement, Art, Political Artifact, Commodity" to the particularly satisfying paradox they present. "The Cubans make posters to advertise culture in a society that seeks not to treat culture as an ensemble of commodities-events and objects designed, whether consciously or not, for commercial exploitation. Then the very project of cultural advertising becomes somewhat paradoxical, if not gratuitous. And indeed, many of these posters do not really fill any practical need. A beautiful poster made for the showing in Havana of, say, a minor movie by Alain Jessura, every performance of which will be sold out anyway (because movies are one of the few entertainments available) is a luxury item, something done in the end for its own sake. More often than not, a poster for ICAIC [Cuban Institute of Cinematographic Arts] by Tony Reboiro or Eduardo Bachs amounts to the creation of a new work of art, supplementary to the film, rather than to a cultural advertisement in the familiar sense." Collected by designer Carole Goodman in collaboration with the ICAC and other Cuban specialists, this substantial compendium is a visual and intellectual treat.

    It places the burgeoning world of cinema in the context of social and cultural developments that have taken place since its beginnings. Organized chronologically, the book traces the evolution of cinematic development, from the earliest days of film projection to the multiscreen cinemas and super-technology of today. Illustrated, in-depth text charts every genre of cinema, from the first silent films to epic blockbusters, CGI graphics and groundbreaking effects of the 21st century. Cinema: The Whole Story is an indispensable book for all those who love watching and reading about films and who want to understand more about the world of cinema.

    and written a book about it! Having earned the respect and accolades of critics and audiences, generated more than half a billion dollars in revenue, and inspired a gaggle of imitators, it's safe to say Scream is millions of people's favorite scary movie. While the Scream films have scared and entertained moviegoers worldwide, they've also invited us to closer examine the movies we watch: to deconstruct them. This book aims to do just that.Scream Deconstructed: An Unauthorized Analysis puts all four Scream movies under the knife to examine the meaning, themes and philosophy of the movie series that brought horror back from the dead by breaking all the rules. Take a close look into the heart of this pop culture phenomenon and what its characters - including Sidney, Gale, Dewey, and each film's killer - represent. Find out what reality, film, fantasy, and sex have to do with it all. Scream Deconstructed is sure to please any fan of Scream, horror, or film in general.

    The cover-up even extended to Hollywood. And there was no WikiLeaks to get the film aired.Mitchell, co-author of the classic "Hiroshima in America" and eleven other books, has written about parts of this story for leading newspapers and magazines, but now tells the full saga, based on new research -- from the Truman Library to Nagasaki.How did this happen? Why? And what did the two military officers, Daniel McGovern and Herbert Sussan, try to do about it, for decades? "Atomic Cover-up" answers all of these questions in a quick-paced but often surprising narrative.

    This jam-packed volume, covering a crucial decade characterized by globalization and digitization, covers an inspiringly broad range of titles including Avatar, the Bourne trilogy, Moulin Rouge, Babel, Bowling for Columbine, Borat, Y tu mamá también, City of God, Mulholland Drive, Dogville, Talk to Her, and No Country for Old Men. Film entries include: • Synopsis • Film stills and production photos • Cast/crew listings • Trivia • Useful information on technical stuff • Actor and director bios

    Plays Itself (1972) was gay porn's first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering "new information for me." Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy. Although his cultural notoriety at one point equaled that of Kenneth Anger or Jack Smith, Halsted's star waned in the 1980s with the emergence of a more commercial gay-porn industry. After the death from AIDS of his long-time partner, lover, spouse (and tormentor) Joey Yale in 1986, Halsted committed suicide in 1989. In Halsted Plays Himself, acclaimed artist and filmmaker William E. Jones documents his quest to capture the elusive public and private personas of Halsted—to zero in on an identity riddled with contradictions. Jones assembles a narrative of a long-gone gay lifestyle and an extinct Hollywood underground, when independent films were still possible, and the boundary between experimental and pornographic was not yet established. The book also depicts what sexual liberation looked like at a volatile point in time—and what it looked like when it collapsed.

    It is a tribute to the most iconic Hollywood stars from the 1920s onwards in ceremonies from the low key to the lavish.With weddings to rival epic studio productions, gowns by designers from Givenchy and Balmain, to Dior and Vivienne Westwood, Weddings and Movie Stars is an unprecedented opportunity to peek behind the scenes and witness many of the secret ceremonies that to this point have remained under wraps. From closeted Rock Hudson’s arranged marriage to his agent’s secretary to Madonna and Sean Penn’s four letter warning to circling paparazzi written in the sand, the public has been shown an often cultivated glimpse of the mega star wedding day, until now. Of an age shrouded in myth, here are our greatest movie stars at their most candid: Shirley Temple, marrying at age 17, Elizabeth Taylor’s 700 wedding guests, unseen footage of Mia Farrow at home with Frank Sinatra, Marilyn and Joe DiMaggio, Marilyn and Arthur Miller, the incredible pairing of Ava Gardner and Mickey Rooney, Bardot, Jagger, John and Yoko, to modern day power couples including Sarah Jessica Parker and Matthew Broderick.Also featured are on-screen stills from classic movie weddings such as Dustin Hoffman in The Graduate and Cary Grant and Katharine Hepburn in The Philadelphia Story. For many film fans, however, the real-life context of stills such as Spencer Tracy and Katharine Hepburn’s on-screen vows in Woman of the Year lends the image a heartbreaking quality, as this fictional marriage sparked the beginning of a real life affair lasting thirty years.Indeed, we now know the tumultuous path ahead of Rita Hayworth and Orson Welles, the blueprint for longevity carved out by Humphrey Bogart and Lauren Bacall, the tragedy awaiting Roman Polanski and Sharon Tate, whose weddings feature in the book. Weddings and Movie Stars succeeds in preserving our most beloved stars at their most vibrant, off-screen and in love and celebrates the wedding in motion pictures.In a year gripped by wedding fever, from Kate Middleton to Kate Moss, the most dramatic and elegant ceremonies, on and off screen, are captured in these images, published for the first time by Reel Art Press.

     Drawing from common Avid assistant editor tasks, the book starts with digitizing and ends with onlining and the final delivery of a show. There is also a comprehensive chapter on multigrouping that details this often-used process and often-encountered job requirement. The Avid Assistant Editor’s Handbook provides new users a solid foundation for working in Avid, and it can accelerate an Avid assistant editor’s transition to a coveted editor role.

    This volume about light, colours and the elements, contains his reflections about his career in cinematography, after more than 30 years experience, including accounts of what happens behind the scenes, the secrets and the magic of the man who is probably the world's most important cinematographer.

    Film and novel tell the story of an extremely violent teenager who allows himself to be subjected to aversion therapy (making him unable to indulge his violent and sexual impulses) so as to get out of prison; he then becomes the target of violent attacks and political manipulation which in turn culminate in the removal of his psychological conditioning.  Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer's study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick's previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

    Sometimes described as personal documentaries or diary films, these eclectic works are, rather, best understood as cinematic variations on the essay. So argues Tim Corrigan inthis stimulating and necessary new book. Since Michel de Montaigne, essays have been seen as a lively literary category, and yet--despite the work of pioneers like Chris Marker--seldom discussed as a cinematic tradition. The Essay Film, offering a thoughtful account of the long rapport betweenliterature and film as well as novel interpretations and theoretical models, provides the ideas that will change this.

    Tolkien's Lord of the Rings trilogy: The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003). Part One of the collection, Techniques of Structure and Story, compares and contrasts the organizational principles of the books and films. Part Two, Techniques of Character and Culture, focuses on the methods used to transform the characters and settings of Tolkien's narrative into the personalities and places visualized on screen. Each of the sixteen essays includes extensive notes and a separate bibliography. Instructors considering this book for use in a course may request an examination copy here.

    Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation.Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.

    Twenty-first-century France is a major source of international cinema--diverse and dynamic, embattled yet prosperous--a national cinema offering something for everyone. Tim Palmer investigates France's growing population of women filmmakers, its buoyant vanguard of first-time filmmakers, the rise of the controversial cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar No�, and stars such as Vincent Cassel and Jean Dujardin. Analyzing dozens of breakthrough films, Brutal Intimacy situates infamous titles alongside many yet to be studied in the English language. Drawing on interviews and the testimony of leading film artists, Brutal Intimacy promises to be an influential treatment of French cinema today, its evolving rivalry with Hollywood, and its ambitious pursuits of audiences in Europe, North America, and around the world.

    Among the Philippine Art Deco structures featured in this book are the Metropolitan theatre, the Far Eastern University, the Tomas Mapua house, movie theaters and residences in the cities of Manila, Sariaya, and Iloilo.

    Cult Cinema: An Introduction presents the first in-depth academic examination of all aspects of the field of cult cinema, including its primary audiences, myriad genres, and the theoretical perspectives that inform a film's "cult" status. After addressing the well-known aspects of cult cinema -- midnight movies, exploitation films, fans of various cult subgenres, issues of censorship, cult-film festivals, and fanzines -- the authors unravel many of cult cinema's deeper mysteries, tackling such issues as representations of gender, transgression, subcultures, and meta-cults (cult movies about cult movies).Topics are presented in sections that are organized thematically around issues relating to reception, aesthetics, and theories. Individual chapters are accompanied by insightful analysis of notable films, including such cult classics as The Rocky Horror Picture Show, Donnie Darko, Blade Runner, Plan 9 From Outer Space, El Topo, Eraserhead, Suspiria, and many others. For cinephiles and scholars alike, Cult Cinema: An Introduction is the ticket to the most complete source of information about a fascinating phenomenon in the history of film.

    CohanHis full name was Spencer Bonaventure Tracy. He was called “The Gray Fox” by Frank Sinatra; other actors called him the “The Pope.”Spencer Tracy’s image on-screen was that of a self-reliant man whose sense of rectitude toward others was matched by his sense of humor toward himself. Whether he was Father Flanagan of Boys Town, Clarence Darrow of Inherit the Wind, or the crippled war veteran in Bad Day at Black Rock, Tracy was forever seen as a pillar of strength.In his several comedy roles opposite Katharine Hepburn (Woman of the Year and Adam’s Rib among them) or in Father of the Bride with Elizabeth Taylor, Tracy was the sort of regular American guy one could depend on.Now James Curtis, acclaimed biographer of Preston Sturges (“Definitive” —Variety), James Whale, and W. C. Fields (“By far the fullest, fairest, and most touching account . . . we have yet had. Or are likely to have” —Richard Schickel, The New York Times Book Review, cover review), gives us the life of one of the most revered screen actors of his generation.Curtis writes of Tracy’s distinguished career, his deep Catholicism, his devoted relationship to his wife, his drinking that got him into so much trouble, and his twenty-six-year-long bond with his partner on-screen and off, Katharine Hepburn. Drawing on Tracy’s personal papers and writing with the full cooperation of Tracy’s daughter, Curtis tells the rich story of the brilliant but haunted man at the heart of the legend. We see him from his boyhood in Milwaukee; given over to Dominican nuns (“They drill that religion in you”); his years struggling in regional shows and stock (Tracy had a photographic memory and an instinct for inhabiting a character from within); acting opposite his future wife, Louise Treadwell; marrying and having two children, their son, John, born deaf.We see Tracy’s success on Broadway, his turning out mostly forgettable programmers with the Fox Film Corporation, and going to Metro-Goldwyn-Mayer and getting the kinds of roles that had eluded him in the past—a streetwise priest opposite Clark Gable in San Francisco; a screwball comedy, Libeled Lady; Kipling’s classic of the sea, Captains Courageous. Three years after arriving at MGM, Tracy became America’s top male star.We see how Tracy embarked on a series of affairs with his costars . . . making Northwest Passage and Dr. Jekyll and Mr. Hyde, which brought Ingrid Bergman into his life. By the time the unhappy shoot was over, Tracy, looking to do a comedy, made Woman of the Year. Its unlikely costar: Katharine Hepburn.We see Hepburn making Tracy her life’s project—protecting and sustaining him in the difficult job of being a top-tier movie star.And we see Tracy’s wife, Louise, devoting herself to studying how deaf children could be taught to communicate orally with the hearing and speaking world.Curtis writes that Tracy was ready to retire when producer-director Stanley Kramer recruited him for Inherit the Wind—a collaboration that led to Judgment at Nuremberg, It’s a Mad Mad Mad Mad World, and Tracy’s final picture, Guess Who’s Coming to Dinner . . . A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor.

    In today's surplus world of communication overload and cultural clutter, writer and cultural critic Masha Tupitsyn turns to the media matrix of Twitter to explore the changing ways that we construct and consume narrative.

    37 pages of summaries and analysis on Papillon by Henri Charriere.This study guide includes the following sections: Plot Summary, Chapter Summaries & Analysis, Characters, Objects/Places, Themes, Style, Quotes, and Topics for Discussion.

    Thus did one Vaudeville theater manager describe Georges M

    With stills, photos from the sets, and in-depth exploration of both iconic and contemporary projects, from Psycho and the French New Wave classic The Week End to Chicago and Zhang Yimou's saga Hero . Get access to lauded professionals, who provide you with the perspective to think like the pros and create compelling visual stories. Apply the perspective you'll gain to your own work with practical tips, or just sit back and coast along this thoughtful, behind-the-scenes road.

    The horror genre's trends and cliches are connected to social and cultural phenomena, such as Y2K fears and the Los Angeles riots. Popular films were about serial killers, aliens, conspiracies, and sinister "interlopers," new monsters who shambled their way into havoc. Each of the films is discussed at length with detailed credits and critical commentary. There are six appendices: 1990s cliches and conventions, 1990s hall of fame, memorable ad lines, movie references in Scream, 1990s horrors vs. The X-Files, and the decade's ten best. Fully indexed, 224 photographs.

    1954) is lauded as one of the most successful and innovative filmmakers of the last thirty years. His films often break records, both in their massive budgets and in their box-office earnings. They include such hits as The Terminator, Aliens, The Abyss, Titanic, and Avatar. Part scientist, part dramatist, Cameron combines these two qualities into inventive and captivating films that often push the boundaries of special effects to accommodate his imagination. James Cameron: Interviews chronicles the writer-director's rise through the Hollywood system, highlighted by his -can-do- attitude and his insatiable drive to make the best film possible.As a young boy growing up in Canada, Cameron imagined himself an astronaut, a deep-sea explorer, a science fiction writer, or a filmmaker. Transplanted to southern California, he would go on to realize many of those boyhood fantasies.This collection of interviews provides glimpses of the filmmaker as he advances from Roger Corman's underling to -king of the world.- The interviews are drawn from a number of sources including TV appearances and conversations on blogs, which have never been published in print. Spanning more than twenty years, this collection constructs a concise and thorough examination of Cameron, a filmmaker who has almost single-handedly ushered Hollywood into the twenty-first century.

    While video in museums has received considerable attention, experiments beyond the exhibition space have not. Here, leading scholars trace expanded and multiscreen cinema from its origins in early abstract film and the Bauhaus era to postwar happenings and live events in Europe and the United States, the first multimedia experiments of the 1960s, and the fusion of multiscreen art with sonic art and music from the 1970s onward. With new perspectives on American pioneers such as Carolee Schneemann and Stan Vanderbeek, this thought-provoking book goes on to explore the influence of video art on new media technologies.

    Joe Aisenberg's dissection of Carrie is, amazingly, the first book-length critical study on this film ever released. In fact, so little has been written on Carrie in a critical fashion that Joe found, to his delight and horror, that he had the field pretty much all to himself. He has conducted new interviews with Brian DePalma, screenwriter Lawrence D. Cohen, and cast members, including cult legend P.J. Soles, with an in-depth analysis of plot and influence.

    The book analyzes its cultural impact and provides a vivid portrait of the director, an ardent Communist and grand provocateur.Will Aitken's novels include Realia and Terre Haute. Arsenal's Queer Film Classics series cover some of the most important and influential films about and by LGBTQ people.

    A unique document: Clint Eastwood’s story, as told in his own wordsA reference work in which one of the great masters of contemporary cinema revisits, film by film, his entire career as both a legendary actor and a remarkable directorAn insightful conversation with the critic and documentary filmmaker Michael Henry Wilson, who has known Eastwood for over twenty yearsA richly illustrated, faithful record of Eastwood’s work, containing film stills and set photographs as well as previously unpublished photographs from his personal collection, dating from his youth and early years as an actorA potential 2010 bestseller: Eastwood’s recent films – including Million Dollar Baby (2004), Gran Torino (2008), Changeling (2008) and Invictus (2009) – have enjoyed huge worldwide success, both at the box office and with the criticsIncludes a biography and a complete filmography

    With her probing questions and disarming manner, she captures the essential character of her subjects while shining a light on the art that defines them. The work provides extraordinary insights on the craft of acting with discussions of process, techniques, tools of the trade, and how to advice for aspiring actors from seasoned veterans. These stars of stage and screen, known for signature roles and critically acclaimed performances, emerge in The Actor Within with masks and wardrobe removed. Here, they speak their own lines, tell their own stories, and raise the curtain on what it means to live the actor's life--the challenge of mastering their craft, the drama of big breaks and career woes, the search for meaningful roles, and above all, having the courage to bare their souls before theater audiences or the camera. For the artists featured in this work, acting is more than a profession; it is how they make their way in the world and artfully merge their inner sense of humanness with universal truths. This collection serves as an important inspirational resource for anyone interested in making art, regardless of medium.The Actor Within includes interviews with Karl Malden, Ruby Dee, Ed Harris, Piper Laurie, Marcia Gay Harden, William H. Macy, Ellen Burstyn, Joe Mantegna, Debra Winger, Julia Stiles, Elliott Gould, Elijah Wood, Stockard Channing, Bill Pullman, Amanda Plummer, Marlee Matlin, Charles Durning, Marsha Mason, and many others.

    However, while similarities and crossovers between architecture and SF have proliferated throughout the past century, the home is often overshadowed by the spectacle of 'otherness'. The study of the familiar (home) within the alien (SF) creates a unique cultural lens through which to reflect on our current architectural condition. SF has always been linked with alienation; however, the conditions of such alienation, and hence notions of home, have evidently changed. There is often a perceived comprehension of the familiar that atrophies the inquisitive and interpretive processes commonly activated when confronting the unfamiliar. Thus, by utilizing the estranging qualities of SF to look at a concept inherently linked to its perceived opposite - the home - a unique critical analysis with particular relevance for contemporary architecture is made possible.

    Each chapter focuses on one actress wth a biography, commentary and complete filmography. Features full color photos, rate international movie poster artwork and magazine covers. Actresses featured include Sophia Loren, Raquel Welch, Brigitte Bardot, Elizabeth Taylor, Ursula Andress and Gina Lollobrigida.

    With contributions by leading academics and emerging scholars in the field, this volume explores the key directors, themes, and periods in German film history, and demonstrates how genres have been adapted over time to fit historical circumstances. Rounding out this addition to the Directory of World Cinema series are fifty full-color stills, numerous reviews and recommendations, and a comprehensive filmography.

    He conveyed a straightforwardness and an honest, American handsomeness that seemed to both ignore and rise above the contrived glamour and studied posturing that had characterized so many other film heroes of those early years. No matter what costume he put on, he looked like he owned it. The camera loved him, and so did the box office.  But costume is one thing, and clothes are another. In his private life, and in those many early films where he wore contemporary clothes, he had devised and perfected his own debonair style that combined a perfectly tailored European wardrobe with all-American casual sportswear to produce the first, and still finest example of elegant, international, masculine style rooted in an American ideal of the everyman as hero. From the most casual sports clothing to the most formal white tie and tails, Cooper carried himself with uncontrived conviction.   Gary Cooper: An Enduring Style is the first ever monograph focused on the timeless fashion and allure of this leading man who was a fashion inspiration to his Hollywood peers, clothing designers then and now, and generations of stylish men of every social strata, across the globe. Compiled of unpublished, never-before-seen personal photographs, shot primarily by his wife Rocky, Gary Cooper captures the cars, the mansions and ranches, the guns and gear, and of course the endless outfits for every occasion that this Hollywood icon ensconced himself in throughout the years. Whether hunting with close friend Ernest Hemingway, lounging with Cary Grant, horseback, poolside, or on the beach, on-set or after-hours, in the company of royalty or cowboys, Cooper had the perfect outfit for every occasion, embodying a type of refined masculinity rarely seen and in high demand to this day.

    It discusses the key films designed to arouse hostility against the Nazis' enemies, including anti-American films like The Emperor of California and The Prodigal Son, the anti-British Ohm Krüger, anti-English films about Ireland and Scotland, and their 1943 anti-capitalist version of Titanic. With an analysis of all the key films produced by the Nazi regime and a wealth of film stills, this book takes the reader on a journey through the Nazi propaganda machine, and serves as a reminder of the levels to which powerful regimes will stoop to achieve power and control.

    From 1984’s seminal Nausicaä of the Valley of the Wind to 2008’s Ponyo, a central theme of Miyazaki’s work has been his unique utilization of female protagonists. This paper investigates the gender ideologies espoused by Miyazaki’s feature films. Questions regarding narrative structure, character agency, gender role deviation, and genre precedence are addressed. Miyazaki’s work is also examined within the greater context of Japanese animation as a powerful media sphere.

    But they have not been given their due, perhaps because Mazursky's films--both sincere and ridiculous, realistic and romantic--are pure emotion. This makes films like Bob & Carol & Ted & Alice, An Unmarried Woman, and Enemies, A Love Story difficult to classify, but that's what makes a human comedy human. In the first ever book-length examination of one of America's most important and least appreciated filmmakers, Sam Wasson sits down with Mazursky himself to talk about his movies and how he makes them. Going over Mazursky's oeuvre one film at a time, interviewer and interviewee delve into the director's life in and out of Hollywood, laughing, talking, and above all else, feeling--like Mazursky's people always do. The book includes a filmography and never-before-seen photos.

    A genre fan's nightmare come true, the modestly produced showcase featured horror films both classic and obscure, from Universal's Frankenstein series to such lesser-known delights as Beast of Blood and The Living Coffin. Fright Night suffered no delusions of grandeur and never claimed to be anything more than what it was: great entertainment on a Saturday night. This thorough if affectionate tribute to Fright Night's glory days includes a complete listing of all films shown on the series, as well as discussion of WOR-TV's other horror movie programs from the 1970s and 1980s. Also featured are interviews with the major surviving players, including Fright Night creator Lawrence P. Casey.

    Through critical discussions of key films and directors, this book sheds new light on cutting-edge debates in Film Studies regarding sexuality, violence and spectatorship, affect and ethics, and the political dimensions of extreme cinema.Including important new work from internationally renowned scholars Martin Barker and Martine Beugnet, as well as combining a range of approaches to extreme cinema across audience research and theories of spectator ship, this exploration of the darkest side of cinema will be an invaluable resource for film scholars and students.

    Films reviewed include 1992's breathtaking masterpiece of offensive virtual reality The Lawnmower Man, the sparkled vampire spectacle Twilight: New Moon, the manly manliness of the ever-manly film Predator, the crime against humanity that is Aliens vs. Predator: Requiem, the poster film for nihilism, Rambo, and many more.

    Ince was a film industry revolutionary. With a career that began in vaudeville and ended with the entire movie studio system credited to his name, the influential producer changed the industry forever. Known for his intense work ethic and vast array of talents that ranged from actor to producer to cinematographer, Ince became known as one of the hardest working businessmen in Tinseltown, churning out more than 100 films during his career. However, today he is perhaps best remembered fo

    

    Film fires were rampant, claiming many lives, as were movie theatre robberies, which became particularly common during the Great Depression. Labor disputes provoked a large number of movie theatre bombings, while low-level criminals like murderers, molesters, and prostitutes plied their trades in the darkened auditoriums. That was all in addition to the spread of disease, both real (as in the case of influenza) and imagined ("movie eyestrain").Audiences also confronted an array of perceived moral dangers. Blue Laws prohibited Sunday film screenings, though theatres ignored them in many areas, sometimes resulting in the arrests of entire audiences. Movie theatre lotteries became another problem, condemned by politicians and clergymen throughout America for being immoral gambling.The Perils of Moviegoing in America: 1896-1950 provides the first history of the many threats that faced film audiences, threats which claimed hundreds, if not thousands, of lives.

    In this wide-ranging and incisive collection, writers, journalists, scholars, and ordinary viewers explore the film and Annie Proulx’s original story as well as their ongoing cultural and political significance. The contributors situate Brokeback Mountain in relation to gay civil rights, the cinematic and literary Western, the Chinese value of forbearance, male melodrama, and urban and rural working lives across generations and genders. The Brokeback Book builds on earlier debates by novelist David Leavitt, critic Daniel Mendelsohn, producer James Schamus, and film reviewer Kenneth Turan with new and noteworthy interpretations of the Brokeback phenomenon, the film, and its legacy. Also appearing in print for the first time is Michael Silverblatt’s interview with Annie Proulx about the story she wrote and the film it became.

    Beginning with introductions to the film's stars a chronicling their rise from a raggedy teenage skiffle band to the biggest pop act in"

    Tracing the beginnings of motion pictures from its Spanish roots, this book advances Deocampo's scholarly study of cinema's evolution in the hands of Americans. By bringing back cinema's colonial past, he uncovers a significant theme in contemporary historiography: cinema as site in the struggle for a Filipino identity amidst the hegemonic cultural domination of Hispanic and American influences. To this cultural battle, Deocampo uniquely contributes the concept of trialectics, adding to the two the nascent, but no less potent, native influences that would one day lead to the appropriation of cinemas as "national" culture. With unmatched scholarship and piercing insights on the subject, Deocampo constructs a history that is epic as it is thought-provoking. Brought into the discussion are epochal themes of war and colonialism, the birth of the Filipino nation, and the rise of cinema as "native" entertainment. Illustrated with rare photos and illustrations, this book is a veritable time machine that creates through a materialist reading of the past the history of the 20th century's celebrated invention...

    From her first job with Benny Goodman to singing with Frank Sinatra; from romances with Ronald Reagan and Kirk Douglas to her marriage with Universal mogul Jennings Lang; and from the glamor of New York City to life in a Beverly Hills mansion, this memoir is a rare insider's view of show business history.

    David A. Gerstner elucidates the complexities in expressing queer black desire through traditional art forms such as painting, poetry, and literary prose, or in the industrial medium of cinema. This challenge is made particularly sharp when the terms "black" and "homosexuality" come freighted with white ideological conceptualizations. Gerstner adroitly demonstrates how Nugent, Baldwin, and Riggs interrogated the seductive power and saturation of white queer cultures, grasping the deceit of an entrenched cultural logic that defined their identity and their desire in terms of whiteness. Their work confounds the notion of foundational origins that prescribe the limits of homosexual and racial desire, perversely refusing the cordoned-off classifications assigned to the "homosexual" and the "raced" body. Queer Pollen articulates a cinematic aesthetic that unfolds through painting, poetry, dance, novels, film, and video that marks the queer black body in relation to matters of race, gender, sexuality, nation, and death.

    Documentary is the oldest continuous form of screen production in Australia, and today plays a pivotal part in our creative industries. This incisive book covers the development of documentary in Australia from the early days of cinema to the coming of television and to the digital environment. Addressing the issues facing today's documentary makers, the authors explore the role of the documentary in shaping the nation and forming the 'imagined community'.

    Rhodes also explores the film's use of point of view, repetition and visual symobolism.

    Susie Bright, “The Pauline Kael of Porn,” (SFChronicle) rips open the history of erotic cinema before the Internet— from the Golden Age of lavish 35mm hardcore, to the video-inspired “Porno Spring,” initiated by none other than punk, feminist, and lesbian video-makers.In this first volume of The Erotic Screen, covering 1967-1989, you’ll find Bright’s ground-breaking “X-Rated Advisor” columns from Penthouse Forum, her shocking “killed story” about the history of racism in the Adult Industry, and truly intimate interviews with legendary artists like Russ Meyer, John Leslie, Sharon Mitchell, Jeannie Pepper, and Christopher Rage.Chapters include: the bizarre beginnings of How-To Sex Videos, the secrets of Erotic Foreign Cinema, The Last of Traci Lords, The Eve of John Holmes’ Departure, the last word on “What Women Want” in erotica, Susie’s blue movie favorites, (both X and R-rated), the never-spoken realities behind a porn shoot, the invention of the “Blatant Lesbian Image”— plus dozens of fan questions answered with Susie’s panache and perceptive detail.If you want to know why erotic movies were the first independent films to break all the Hollywood Studio rules— if you want to know why sex on screen can change your life— you need to see where it all began in this first volume of “Susie Bright’s Erotic Screen.”

    

    The backdrop against which they first fell in love, Paris later serves as a reminder of their deep mutual longings. And with a host of different realizations by filmmakers from Philip Kaufman to Julien Leclercq to Woody Allen, there is no question that Paris has likewise endured in the memories of cinephiles worldwide. World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights past and present through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower—whose stairs and crossbars inspired more than one famous chase scene—to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quartiers usually tucked away from the tourist’s admiring gaze. Handsomely illustrated with full-color film stills and contemporary photographs, more than fifty scenes are individually considered with special attention to their use of Paris’s topography as it intersects with characters, narrative, and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinéma-verité, the literary works of the Left Bank Group, and Luc Besson’s slickly stylized cinéma du look. Meanwhile, essays foreground contributions from Francophone African directors and émigré filmmakers. For centuries, Paris has reigned over the popular imagination. For those who have visited or those who have only imagined it through art, literature, and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema—and new initiates—will appreciate.

    2010.

    Known for their animation shorts that rely on puppetry, miniatures, and stop-motion techniques, their fiercely idiosyncratic films are fertile fields for Suzanne Buchan's engaging descriptions and provocative insights into the Quays' art-and into the art of independent puppet animation.Buchan's aesthetic investigation stems from extensive access to the Quay Brothers' artistic practices and work, which spans animation and live-action film, stage design and illustration. She also draws on a long acquaintance with them and on interviews with collaborators essential to their productions, as well as archival sources. Discussions of their films' literary origins, space, puppets, montage, and the often-overlooked world of sound and music in animation shed new light on the expressive world that the Quay Brothers generate out of their materials to create the poetic alchemy of their films.At once a biography of the Quays' artistic trajectory and a detailed examination of one of their best-known films, Street of Crocodiles, this book goes further and provides interdisciplinary methodologies and tools for the analysis of animation.

    Readers will learn about Balls family background, childhood, education, and work as the beloved comic actress on the groundbreaking television show I Love Lucy. Color and black & white photos and informative sidebars accompany easy-to-read, compelling text. Features include a table of contents, timeline, facts, additional resources, Web sites, a glossary, a bibliography, and an index. Essential Lives is a series in Essential Library, an imprint of ABDO Publishing Company.

    1944) is a groundbreaking African American filmmaker and one of this country's finest directors, yet he remains largely unknown. His films, most notably "Killer of Sheep" (1977) and "To Sleep with Anger" (1990), are considered classics, yet few filmgoers have seen them or heard of Burnett. The interviews in this volume explore this paradox and collectively shed light on the work of a rare film master whose stories bring to the screen the texture and poetry of life in the black community.The best qualities of Burnett's films-rich characterizations, morally and emotionally complex narratives, and intricately observed tales of African American life-are precisely the things that make his films a tough sell in the mass marketplace. As many of the interviews reveal, Hollywood has been largely inept in responding to this marketing challenge. "It takes an extraordinary effort to keep going," Burnett told Terrence Rafferty in 2001, "when everybody's saying to you, 'No one wants to see that kind of movie, ' or 'There's no black audience.'" All the interviews selected for this volume (spanning more than three decades of Burnett's directorial career including his recent work) examine, in various degrees, Burnett's status as a true independent filmmaker and explore his motivation for making films that chronicle the black experience in America.

    But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany.Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lódz ghetto, and home movies and family albums of Hitler’s mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss.Many of these images have been reused—often unacknowledged—in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment.

    But as much as the audience loved the shows, they never knew the horror that occurred off-screen -- live adult stage performances, lawsuits and cutthroat competition. What started off as risqué and sexy by 1954 standards ended as risqué and sexy by 1984 standards. Horror hosts affected 30 years of television history... a phenomenon that is not known by today's generation but well remembered by the "Baby Boomers" and now chronicled for future generations. Inside Creatures of the Night That We Loved So Well, you will find:• Little-known trivia• Over 250 photos, ads, and images--many never seen before• Movie listings by date• Actual scripts• Interviews with hosts and writers• Identities revealed for the first time

    

    Jane, and JAG, films and television shows have grappled with the notion that military women are contradictory figures, unable to be both effective soldiers and appropriately feminine. In Soldiers’ Stories, Yvonne Tasker traces this perceived paradox across genres including musicals, screwball comedies, and action thrillers. She explains how, during the Second World War, women were portrayed as auxiliaries, temporary necessities of “total war.” Later, nursing, with its connotations of feminine care, offered a solution to the “gender problem.” From the 1940s through the 1970s, musicals, romances, and comedies exploited the humorous potential of the gender role reversal that the military woman was taken to represent. Since the 1970s, female soldiers have appeared most often in thrillers and legal and crime dramas, cast as isolated figures, sometimes victimized and sometimes heroic. Soldiers’ Stories is a comprehensive analysis of representations of military women in film and TV since the 1940s. Throughout, Tasker relates female soldiers’ provocative presence to contemporaneous political and cultural debates and to the ways that women’s labor and bodies are understood and valued.

    His Fox Film Corporation had grown from a $1600 investment into a globe-spanning $300 million empire; he also held patents to the new sound-on-film process. Forced into a series of bitter power struggles, Fox was ultimately toppled from his throne, and the studio bearing his name would merge in 1935 with Darryl F. Zanuck s flourishing 20th Century Pictures. The 25-year lifespan of the Fox Film Corporation, home of such personalities as Theda Bara, Tom Mix, Janet Gaynor and John Ford, is chronicled in this thorough illustrated history. Included are never-before-published financial figures revealing costs and grosses of Fox s biggest successes and failures, and a detailed filmogaphy of the studio s 1100-plus releases, among them What Price Glory?, Seventh Heaven and the Oscar-winning Cavalcade."

    Written largely by historians of art and film, these essays emphasize visual analysis of the photographic and film media that carried the new woman's influential message." ---Norma Broude, American University"The New Woman International focuses on the New Woman not simply as an image to be analyzed but also as a producer of images and text. This groundbreaking anthology represents a theoretically sophisticated set of essays that thoroughly examine the phenomenon of the New Woman in previously unexplored ways."---Sarah E. Chinn, Hunter College, CUNYImages of flappers, garçonnes, Modern Girls, neue Frauen, and trampky---all embodiments of the dashing New Woman---symbolized an expanded public role for women from the suffragist era through the dawn of 1960s feminism. Chronicling nearly a century of global challenges to gender norms, The New Woman International: Representations in Photography and Film from the 1870s through the 1960s is the first book to examine modern femininity's ongoing relationship with the nineteenth and twentieth centuries' most influential new media: photography and film. This volume examines the ways in which novel ideas about women's roles in society and politics were disseminated through these technological media, and it probes the significance of radical changes in female fashion, appearance, and sexual identity. Additionally, these original essays explore the manner in which New Women artists used photography and film to respond creatively to gendered stereotypes and to reconceive of ways of being a woman in a rapidly modernizing world.The New Woman International brings together different generations of scholars and curators who are experts in gender, photography, literature, mass media, and film to analyze the New Woman from her inception in the later nineteenth century through her full development in the interwar period, and the expansion of her forms in subsequent decades. Arranged both chronologically and thematically, these essays show how controversial female ideals figured in discourses including those on gender norms, race, technology, sexuality, female agency, science, media representation, modernism, commercial culture, internationalism, colonialism, and transnational modernity. In exploring these topics through images that range from montages to newspapers' halftone prints to film stills, this book investigates the terms of gendered representation as a process in which women were as much agents as allegories. Inaugurating a new chapter in the scholarship of representation and New Womanhood and spanning North America, Western and Eastern Europe, Asia, and the colonial contexts of Africa and the Pacific, this volume reveals the ways in which a feminine ideal circled the globe to be translated into numerous visual languages.With a foreword from the eminent feminist art historian Linda Nochlin, this collection includes contributions by Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis, Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela, Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan, Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and Lisa Jaye Young.DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library

    Bellour writes in his foreword to this English edition: "Between-the-Images, which was innovative yesterday, is now a kind of archeological corpus. That is one of its virtues. It recalls how the landscape of the moving image was constituted and historicizes the first creative passages between film, video and photography." Considering the works and strategies of artists and filmmakers such as Chantal Akerman, Jean Eustache, Jean-Luc Godard, Thierry Kuntzel, Chris Marker and Bill Viola, Bellour shows how film looks at painting and how language inspires images. At once poetic and concisely argued, and accompanied by numerous film stills, Bellour's now-classic essays are invaluable and still relevant today.

    While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties.American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories—the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval.

    military/defense interests and U.S. foreign policy.As probably the best known of the many different intelligence agencies of the US, the CIA is an exceptionally well known national and international icon or even "brand," one that exercises a powerful influence on the imagination of people throughout the world as well as on the creative minds of filmmakers. The book examines films sampled from five decades - the 1960s, 1970s, 1980s, 1990s and 2000s - and explores four main issues: the relative prominence of the CIA; the extent to which these films appeared to be overtly political; the degree to which they were favorable or unfavorable to the CIA; and their relative attitude to the "business" of intelligence. A final chapter considers the question: do these Hollywood texts appear to function ideologically to "normalize" the CIA? If so, might this suggest the further hypothesis that many CIA movies assist audiences with reconciling two sometimes fundamental opposites: often gruesome covert CIA activity for questionable goals and at enormous expense, on the one hand, and the values and procedures of democratic society, on the other.This interdisciplinary book will be of much interest to students of the CIA/Intelligence Studies, media and film studies, US politics and IR/Security Studies in general.

    Its original essays analyze film, television, video, and installation art from diverse national and transnational contexts to rethink both the study of moving images and the theorization of place. Through its unprecedented—and at times even obsessive— attention to actual places, this volume traces the tensions between the global and the local, the universal and the particular, that inhere in contemporary debates on global cinema, television, art, and media.Contributors: Rosalind Galt, U of Sussex; Frances Guerin, U of Kent; Ji-hoon Kim; Hugh S. Manon, Clark U; Ara Osterweil, McGill U; Brian Price, U of Toronto; Linda Robinson, U of Wisconsin–Whitewater; Michael Siegel; Noa Steimatsky, U of Chicago; Meghan Sutherland, U of Toronto; Mark W. Turner, Kings College London; Aurora Wallace, New York U; Charles Wolfe, U of California, Santa Barbara.

    They are often studied as part of distinct national traditions that are interpreted as native. Yet this anthology disputes previous approaches to the art to reveal the influence of the Hollywood model in musicals from around the world. Including case studies from Great Britain to France to Turkey, "The International Film Musical" is a key resource for this art form. The book ends with a coda by Rick Altman, one of the genre's most prominent scholars.