Filled with a wealth of rare and unseen behind-the-scenes imagery, this book explores the creation of the film as seen through the eyes of the artists, costume designers, and creature creators who gave Labyrinth its distinctive look. Featuring in-depth commentary from the talented crew and cast—including exclusive new interviews with Jennifer Connelly, Brian Henson, Brian Froud, and George Lucas—this deluxe book brings together a wealth of rare sketches, concept art, and candid set photography to form and incredible treasure trove for Labyrinth fans. With stunning visuals and unparalleled insight into the creation of a true modern classic, Labyrinth: The Ultimate Visual History is the perfect companion piece to one of the best-loved fantasy films of all time.

    The list of alumni with Oscars runs off the page. The cornerstone of his program is his singular book, Story, which has defined how we talk about the art of story creation. Now, in Dialogue, McKee offers the same in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways. From Macbeth to Breaking Bad, McKee deconstructs key scenes to illustrate the strategies and techniques of dialogue. Dialogue applies a framework of incisive thinking to instruct the prospective writer on how to craft artful, impactful speech. Famous McKee alumni include Peter Jackson, Jane Campion, Geoffrey Rush, Paul Haggis, the writing team for Pixar, and many others.

    Conceived, written, and directed by a little-known filmmaker named George Lucas, the movie originally called The Star Wars quickly drew blocks-long lines, bursting box-office records and ushering in a new way for movies to be made, marketed, and merchandised. It is now one of the most adored-and successful-movie franchises of all time.Now, the author of the bestselling biography Jim Henson delivers a long-awaited, revelatory look into the life and times of the man who created Luke Skywalker, Han Solo, and Indiana Jones.If Star Wars wasn't game-changing enough, Lucas went on to create another blockbuster series with Indiana Jones, and he completely transformed the world of special effects and the way movies sound. His innovation and ambition forged Pixar and Lucasfilm, Industrial Light & Magic, and THX sound.Lucas's colleagues and competitors offer tantalizing glimpses into his life. His entire career has been stimulated by innovators including Steven Spielberg and Francis Ford Coppola, actors such as Harrison Ford, and the very technologies that enabled the creation of his films-and allowed him to keep tinkering with them long after their original releases. Like his unforgettable characters and stories, his influence is unmatched.

    With his meticulous notes and impressions of Mario Puzo’s novel, the notebook was referred to by Coppola daily on set while he directed the movie. The Godfather Notebook pulls back the curtain on the legendary filmmaker and the film that launched his illustrious career. Complete with an introduction by Francis Ford Coppola and exclusive photographs from on and off the set, this is a unique, beautiful, and faithful reproduction of Coppola’s original notebook. This publication will change the way the world views the iconic film—and the process of filmmaking at large. A must-have book of the season. Nothing like it has ever been published before.

    This book will be the perfect accompaniment to the exhibition, which focuses on del Toro’s creative process, including the well-defined themes that he obsessively returns to in all his films, the journals in which he logs his ideas, and the vast and inspiring collection of art and pop culture ephemera that he has amassed at his private “man cave,” Bleak House. Filled with imagery from the exhibit, including favorite pieces of art that del Toro has chosen for the exhibit, and pertinent journal pages, the book will further delve further into the director’s world through exclusive in-depth interviews and commentary from notable figures in the art world. Forming a perfect companion to the exhibition, this book will deliver an engrossing look into the mind of one of the great creative visionaries of our time.

    The book is alive and teeming with hundreds of photos, original interviews, and hilarious commentary.Young Frankenstein was made with deep respect for the craft and history of cinema--and for the power of a good schwanzstucker joke. This picture-driven book, written by one of the greatest comedy geniuses of all time, takes readers inside the classic film's marvelous creation story via never-before-seen black and white and color photography from the set and contemporary interviews with the cast and crew, most notably, legendary writer-director Mel Brooks.With access to more than 225 behind-the-scenes photos and production stills, and with captions written by Brooks, this book will also rely on interviews with gifted director of photography Gerald Hirschfeld, Academy Award-winning actress Cloris Leachman, and veteran producer Michael Gruskoff.

    At once a vital portrait of contemporary African American life and an intensely personal and poetic meditation on identity, family, friendship, and love, Moonlight is a groundbreaking piece of cinema that reverberates with deep compassion and universal truths. Anchored by extraordinary performances from a tremendous ensemble cast, Jenkins’s staggering, singular vision is profoundly moving in its portrayal of the moments, people, and unknowable forces that shape our lives and make us who we are.

    Written in close collaboration with the director, this volume covers everything from del Toro’s initial musings, through to the film’s haunting creature designs, the hugely challenging shoot, and the overwhelming critical and fan reaction upon the its release.Including exquisite concept art and rare unit photography from the set, Guillermo del Toro’s Pan’s Labyrinth gives readers an exclusive, behind-the-scenes look at how this modern classic was crafted for the screen. The book also draws on interviews with every key player in the film’s creation, including stars Ivana Baquero, Sergi López, Maribel Verdu, and Doug Jones; producers Alfonso Cuarón and Bertha Navarro; and director of photography Guillermo Navarro, to present the ultimate behind-the-scenes look at this unforgettable cinematic classic.

    Wong Kar Wai is known for his romantic and stylish films that explore—in saturated, cinematic scenes—themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong’s complete oeuvre in the locations of some of his most famous scenes. The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shot In the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong’s eleven films, the conversations also explore Wong’s trademark themes of time, nostalgia, and beauty, and their roots in his personal life. This first book by Wong Kar Wai, lavishly illustrated with more than 250 photographs and film stills and featuring an opening critical essay by Powers, is as evocative as walking into one of Wong’s lush films.

    Pictures based on the DC Comics antihero team. Along with photos of the cast and crew, this lavish full-color official tie-in book will contain behind-the-scenes stories and images, removable items, and more, making it a must have keepsake for every fan!They are the worst of the worst, a task force of the most dangerous people on the planet—incarcerated Super Villains unleashed to do some good. Assembled by U.S. intelligence officer Amanda Waller and armed with the most powerful arsenal at the government’s disposal, the Squad is sent on a seemingly impossible top-secret mission: eradicate a powerful, enigmatic threat.But once they realize they weren’t picked to succeed but chosen for their patent culpability, will the members of the Suicide Squad choose to die trying—or decide it’s every man for himself?The blockbuster movie has a star-studded cast that includes Will Smith as Floyd Lawton/Deadshot, Jared Leto as The Joker, Margot Robbie as Harley Quinn, Joel Kinnaman as Rick Flag, Viola Davis as Amanda Walker, and many more.Special interactive and removable items in the book include a blueprint of Belle Reve prison, replicas of letters from Deadshot’s daughter to her father, a Joker playing card and Joker temporary tattoos, a poster of the Suicide Squad, 6 postcards, a 16-page dossier and much more.SUICIDE SQUAD and all related characters and elements © and TM DC Comics and Warner Bros. Entertainment Inc. (s16)

    Readers can enjoy one film per week, for a year of stellar viewing, or indulge in their own classic movie festival. Some long-championed classics appear within these pages; other selections may surprise you. Each film is profiled with insightful notes on why it's an Essential, a guide to must-see moments, and running commentary from TCM's Robert Osborne and Essentials guest hosts past and present, including Sally Field, Drew Barrymore, Alec Baldwin, Rose McGowan, Carrie Fisher, Molly Haskell, Peter Bogdanovich, Sydney Pollack, and Rob Reiner.Featuring full-color and black-and-white photography of the greatest stars in movie history, The Essentials is your curated guide to fifty-two films that define the meaning of the word "classic."

    Many of the important essays and interviews from those pages have been revised and reorganized for The Essential Wrapped In Plastic: Pathways to Twin Peaks. The Essential Wrapped In Plastic is a work of critical analysis and historical reporting. The core of the book is a detailed episode guide that reviews each chapter of David Lynch and Mark Frost’s landmark series (which originally aired on ABC television in 1990 and 1991). These reviews are supplemented by comments from actors, writers, producers and other creative personnel who provide intimate and first-hand remarks about Twin Peaks. Each critique also includes analysis of scripted scenes that were deleted from the final televised episodes, allowing for a deeper understanding of how Twin Peaks was being crafted as it went along. The last episode of Twin Peaks is examined in detail, with a chapter that focuses on the installment’s final, mesmerizing act—an essay that sheds light on what really happened to the series’ enigmatic protagonist, Dale Cooper. The feature film, Fire Walk With Me, is the subject of two in-depth essays. The first delves into the character of Laura Palmer and shows how David Lynch transformed the idea of Laura (from the series) into a fully realized character (in the film). The second essay radically challenges the design of the Fire Walk With Me prologue, arguing that Dale Cooper is a more prominent and vital presence in the story than might first appear. Vibrant and provocative, Twin Peaks is an enduring masterpiece. The Essential Wrapped In Plastic is a crucial guide to this remarkable work.

    Hutson takes fans deeper into the movie’s boiler room than they’ve ever dared go, from exploring what spurred mastermind Craven to craft his watershed film to the beginnings of Robert Shaye’s revolutionary New Line Cinema. Never Sleep Again features dozens of exclusive cast and crew interviews, in addition to thoughts from those who worked with Craven and Shaye prior to their Nightmare. This extensively researched, comprehensive look back is the definitive account of the film that began what many have called the best, most frightening and imaginative horror franchise in motion picture history. Includes 100s of photos.

    Over more than four decades, he built a reputation writing reviews for the Chicago Sun-Times and, later, arguing onscreen with rival Chicago Tribune critic Gene Siskel and later Richard Roeper about the movies they loved and loathed. But Ebert went well beyond a mere “thumbs up” or “thumbs down.” Readers could always sense the man behind the words, a man with interests beyond film and a lifetime’s distilled wisdom about the larger world. Although the world lost one of its most important critics far too early, Ebert lives on in the minds of moviegoers today, who continually find themselves debating what he might have thought about a current movie.The Great Movies IV is the fourth—and final—collection of Roger Ebert’s essays, comprising sixty-two reviews of films ranging from the silent era to the recent past. From films like The Cabinet of Caligari and Viridiana that have been considered canonical for decades to movies only recently recognized as masterpieces to Superman, The Big Lebowski, and Pink Floyd: The Wall, the pieces gathered here demonstrate the critical acumen seen in Ebert’s daily reviews and the more reflective and wide-ranging considerations that the longer format allowed him to offer. Ebert’s essays are joined here by an insightful foreword by film critic Matt Zoller Seitz, the current editor-in-chief of the official Roger Ebert website, and a touching introduction by Chaz Ebert. A fitting capstone to a truly remarkable career, The Great Movies IV will introduce newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.

    

    Unfortunately, that book was never to be . . . .Photographer Arthur Grace first met Robin Williams in April 1986, at a comedy club in Pittsburgh where Williams was working to polish what would eventually become his award-winning special “Evening at the Met”. The two hit it off immediately, and thus blossomed a close friendship that carried them through their increasingly successful careers. Told through a series of stunning photographs of Williams taken by Grace over the course of this decades-long partnership, Robin Williams: A Singular Portrait offers a touching and up-close look at the real Robin Williams—the manic and happy, the pensive and weary, the engaged and disengaged, a true portrait of one of America’s greatest comics and most beloved actors.For the millions of people around the globe that Robin Williams has touched, these images, more than 150 photographs, a glorious mixture of stunning color and resonating black and white presented in exhibit format, will be something to embrace and cherish, not simply because of their exclusivity, but because of their intimacy and their honesty.

    To commemorate the film’s 30th anniversary, we’ve assembled a wealth of material, including hundreds of never-before-seen photos, exclusive new cast and crew interviews, filming secrets behind the film’s iconic action sequences, original set designs, and much more! Features a Foreword by Big Trouble in Little China director John Carpenter!

    Although all attempts to harness the beast’s abilities have ended in appalling bloodshed, the acquisition of the Xenomorph remains a priority. As such, Weyland-Yutani has granted you access to their detailed files on the alien in the hope that you will be able to help capture and subjugate one of these fascinating yet deadly creatures.This exclusive in-world book utilizes specially commissioned illustrations and thirty-five years of Alien movie concept art and film stills to create a deeply engrossing reading experience that explores the nature of the Xenomorph in unparalleled detail. Alien: The Weyland-Yutani Report contains extensive information on the characters, locations, vehicles, and weapons from the movies, along with an in-depth breakdown of the Xenomorph’s life cycle, to give readers the most comprehensive look at one of movie history's greatest monsters.Covering all aspects of this hugely popular franchise’s thirty-five-year history, Alien: The Weyland-Yutani Report is the ultimate book for fans.Aliens TM & © 2016 Twentieth Century Fox Film Corporation. All Rights Reserved.

    From the Expressionist reveries of the Weimar Republic to the transgressive nightmares smuggled past the Franco regime, via surrealist Gallic fever-dreams and psychedelic shockers from Cinecittà, Jonathan Rigby brings his incisive scrutiny to bear on more than 100 key films, starting in the aftermath of World War I and winding up with the video revolution of the early 1980s.

    BRAND NEW, Exactly same ISBN as listed, Please double check ISBN carefully before ordering.

    Over the course of five years, Academy Award-winning filmmaker Oliver Stone (Midnight Express, Scarface, Platoon, JFK, Natural Born Killers, Snowden) and New York Times bestselling author Matt Zoller Seitz (The Wes Anderson Collection) discussed, debated, and deconstructed the arc of Stone's outspoken, controversial life and career with extraordinary candor. This book collects those conversations for the first time, including anecdotes about Stone's childhood, Vietnam, his struggles with post-traumatic stress disorder, and his continual struggle to reinvent himself as an artist. Their dialogue is illustrated by hundreds of never-before-seen photographs and documents from Stone's personal archive, dating back to Stone's birth: personal snapshots, private correspondence, annotated script pages and storyboards, behind-the-scenes photography, and production files from all of his films to date—through 2016's Snowden, and including Stone's epic Showtime mini-series Untold HIstory of the United States. Critical commentary from Seitz on each of Stone's films is joined by original essays from filmmaker Ramin Bahrani; writer, editor, and educator Kiese Laymon; writer and actor Jim Beaver; and film critics Walter Chaw, Michael Guarnieri, Kim Morgan, and Alissa Wilkinson.  At once a complex analysis of a master director’s vision and a painfully honest critical biography in widescreen technicolor, The Oliver Stone Experience is as daring, intense, and provocative as Stone’s films—it's an Oliver Stone movie about Oliver Stone, in the form of a book. Both this book and Stone’s highly anticipated film, Snowden, will be released in September 2016 to coincide with Stone’s seventieth birthday (September 15, 1946). Also available from Matt Zoller Seitz: Mad Men Carousel, The Wes Anderson Collection: Bad Dads, The Wes Anderson Collection: The Grand Budapest Hotel, and The Wes Anderson Collection.

    Presented first as random notes on watching Hitchcock, the fragments soon take up multiple narratives and threads and, like a classic Hitchcock movie, present competing realities. Fragments from a dizzying list of authors, from Truffaut to Philip K. Dick and Geoff Dyer to Bruno Schultz, are meticulously arranged in a fascinating, multilayered reading experience.

    "Here comes Halloween!"Collectors and fans of Tim Burton's The Nightmare Before Christmas will love the deluxe cinestory comic companion to the movie, which celebrates the charm, heart, and spooky fun of the classic stop-motion film.

    A signal that produces strange and unusual side-effects in those who watch it. But as these men try to bring their invention to market, a mysterious corporation conspires to develop the technology not as an extension of television, but as a weapon that can eliminate nations.In this fast and ingenious thriller, Lee McGeorge delves into the background of David Cronenberg’s horror classic, examining not only how and why Videodrome came to exist, but exploring the ideology that would make it priceless.“If you’re a fan of David Cronenberg’s classic Videodrome, you’re going to absolutely love Lee McGeorge’s prequel, Videodrome: Days of O’Blivion… Trust me: YOU WANT THIS NOVEL!” - AddictedToHorrorMovies.com“Highly recommended for sci-fi and horror lovers alike, Lee McGeorge’s new novel is topical, cerebral and, at times, terrifying.” - HorrorNovelReviews.com"Days of O'Blivion is a quick and haunting read that captures the intelligence and quality of Cronenberg's original." - Codices“A fast read but with serious themes, Days of O’Blivion reaches its pinnacle with a satisfying climax that will resonate with anyone who views the rise of new technology as more than a harmless distraction.” - HorrorNovelReviews.com

    The 112 blog posts in this book have been carefully curated and edited from Blake’s originals. We have selected posts that we believe are timeless, resonating as powerfully today as on the day Blake wrote them. In addition, we’ve created 10 chapters in which we’ve bundled posts according to categories, to simplify your search for the information, encouragement and enthusiasm that were Blake’s hallmarks: - Ideas and Concepts - Themes - Titles and Loglines - Genres - Heroes - Structure - Dialogue - The Pitch - Going Pro - Inspiration. Enjoy these meaningful and helpful lessons in screenwriting… and life. Also included are photos that have never been published.

    Inspired by 1971͛s iconic Le Mans͛ movie, which overcame its initial box office struggle to find true cult status, Garbo’s creation pays homage to the movie, its race, the cars that fired on all cylinders and the man who made it all possible.“This graphic novel of Steve McQueen's epic race flick 'Le Mans' will blow you away…it's better than the movie.” - Maxim“It’s a volume that will delight any fan of classic automobiles, racing or the work of McQueen.” - Fox Sports“The Porsche and Ferrari rivalry is rendered in spectacular color and clear, narrative graphics that make you want to actually pick up a book.” - Men’s Journal“Steve McQueen in Le Mans re-creates every burnout, crash, pass and tense moment from the silver screen...it would make a great gift for the car lover in your life.” - Gear Patrol“Garbo and his team of artists…put an immense amount of detail into every scene, bringing the story to life for the reader to soak in.” - Road and TrackThe graphic novel retells the film's story with colourful and rich illustrations. The high-intensity action of the movie has been captured in page after page of gorgeous illustrations. This is Part One in a two part book series and ends during the exciting scene with Delaney's accident.

    [The true story of John Merrick has captured the imagination of generations of audiences, critics, actors, and filmmakers.

    Once relegated to the underground and midnight movie circuit, these films and their bombastic advertisements are experiencing a surge of mainstream popularity driven by fans appreciative of the artistic skill, distinctive aesthetic, and unabashed sensationalism they relied on to make a profit, with the quality of the poster often far surpassing that of the film itself. The book celebrates this tradition with sections divided into "moral panic" films, action, horror, sci-fi, and of course, sex, each introduced with short essays by genre experts such as Kim Newman, Eric Schaffer, Simon Sheridan, Vern, and author Stephen Jones, winner of the Horror Writer's Association 2015 Bram Stoker Award for Non-Fiction. Edited by Adam Newell and featuring an introduction by author and filmmaker Pete Tombs, The Art of the B Movie Poster is a loving tribute to the artwork and artists that brought biker gangs, jungle girls, James Bond rip-offs and reefer heads to life for audiences around the world.

     This practical, no-nonsense guide leaves behind one-size-fits-all story theories and offers a modern approach to story structure, making it a precious resource for anyone involved creatively in the Film and TV industry (or aspiring to be): writers, directors, producers, development execs, showrunners and, more generally, storytellers keen to reach a wide audience at home and abroad. Having identified three main story-types – plot-led, character-led, theme-led – Oberg reveals in a clear, conversational style how each of these impacts on the structure of any screenplay, and how we can use a single set of tools to develop any movie, from an independent crossover to a studio blockbuster. This leads to a powerful yet flexible way to handle the script development process: the Story-Type Method®. A new framework that doesn’t tell you what to write and when, but focuses instead on why some tools and principles have stood the test of time, and how to use them in the 21st century. According to readers (see reviews below), Oberg’s new approach is a game changer. Here are some of the easy-to-understand concepts explored in Screenwriting Unchained that will help you improve any screenplay: How to identify the story-type of your project to make its development faster, easier and solve most story structure problems. How to leave behind the prescriptive, logistical three-act structure based on page numbers or minutes and replace it with a flexible, dramatic three-act structure that will help you design a rock-solid screenplay. How focusing on emotion, character development and managing information will allow you to go beyond the “protagonist–goal–obstacles–conflict” basic chain of drama. How to use the fractal aspect of structure to design not only the whole story but also its parts in order to avoid the dreaded "sagging middle" syndrome and breathe new life into your script. How to clarify what’s at stake and increase your chances of getting the project made with a new take on Maslow’s Hierarchy of Needs. How to use subgoals to Sequence the Action and psychological/emotional steps to Sequence the Evolution of your characters. How to keep the audience engaged using tools like dramatic irony, surprise, mystery and suspense, adding a third dimension to your story. How to master these tools and principles in scenes through practical exercises before using them in a short film, a feature film, a TV episode or a whole series following hands-on tips and advice. How to design an attention-grabbing opening and a satisfying ending. How to deal with hybrids and exceptions, as story structure isn't about forcing all narratives into a single formulaic paradigm. With The Rewrite Stuff: 12 Ways to a Stronger Screenplay, how to approach a new draft creatively and efficiently. How to make the difference between selling documents – used to raise development or production finance – and story design tools.

    . . [an] illustration of Fanon's 1961 anticolonialist broadside, The Wretched of the Earth, abridged and sharpened to its ferocious point."—The New York Times"By grounding colonial brutalities and the responses to those injustices in the visual, the phenomenon of colonialism attains a larger and more global significance. Olsson's interest is in decolonization—that short yet potent moment at the tail end of an anti-colonial war followed by the transfer of power when the new nation comes into being. This has often proven to be one of the most violent episodes in post-colonial history, and [Frantz] Fanon is its most articulate philosopher . . . Olsson's investment [is] in making Fanon's theory relevant and up-to-date."—The Guardian An unblinking portrait of the anticolonial struggles of the 1960s, Concerning Violence combines more than a hundred arresting color photographs from Göran Hugo Olsson's award-winning documentary, with passages from Frantz Fanon’s classic The Wretched of the Earth. Concerning Violence is a powerful commentary on the history of colonialism and struggles for self-determination, whose echoes remain with us today, and will introduce a new generation to Fanon, whom Angela Davis has called “this century’s most compelling theorist of racism and colonialism.” The book features an introduction by Professor Gayatri Chakravorty Spivak, author of Can the Subaltern Speak? and other foundational texts of postcolonialism.

    Never before has a period series offered suchcompelling plotlines alongside such painstaking attention to detail and accuracy. As the show's personal and professional machinations evolve, so too are theminutiae and the milestones of history in motion, from the shifting height of hemlines to the struggles of the civil rights movement.This book is TASCHEN s tribute toMad Men's television art. It chronicles all seven seasons of the series withon-set photographs, manypublished here for the first time, alongsideextensive and candid interviewswith the show s creator, Matt Weiner, andMad Men's superstar ensemble of actors, set designers, costume designers, producers, directors, writers, includingJon Hamm(Don), Elisabeth Moss(Peggy), Christina Hendricks(Joan), January Jones(Betty), Jessica Pare(Megan), Vincent Kartheiser (Pete), Kiernan Shipka (Sally), Robert Morse (Cooper), John Slattery (Roger), Scott Hornbacher (producer), Janie Bryant (costume designer), and Lisa Albert (writer).From theplot twists that took our breath away, to theunforgettable outfits; from the shapes and textures of 60s decorto to the very realintricacies of relationships, discover the ideas, inspirations, and talents that brought human lives and human history together on the small screen. "

    Esoteric Hollywood is a game-changer in an arena of tabloid-populated titles. After years of scholarly research, Jay Dyer has compiled his most read essays, combining philosophy, comparative religion, symbolism and geopolitics and their connections to film. Readers will watch movies with new eyes, able to decipher on their own, as the secret meanings of cinema are unveiled.

    Here are some of the movie’s best moments, recreated in detailed black-and-white line drawings, including:Hans Gruber and his posse crash the Christmas party at Nakatomi and take the tower hostage;John McClane’s limo ride with Argyle;The tension-filled crawl through the building vents; John’s morbid message delivery to Hans (written on the corpse of one of Hans’ men);The famous bloody footprints;And of course, John leaping off the Nakatomi tower.With so many memorable scenes to color in, as well as entertaining activities and the most quoted lines from the movie, fans will be shouting "yippee-ki-yay!"

    Loosely inspired by La Sorciere, Jules Michelet's 1862 history of witchcraft and the occult, Belladonna of Sadness tells the story of a young woman who makes a pact with the devil to exact revenge after being raped and driven from her home. This brief synopsis, however, does no justice to the visual spectacle of the film, which proceeds as a series of still images flashing onscreen. Spectacular watercolor paintings by Kuni Fukai marry the art nouveau artifice of artists like Aubrey Beardsley to '60s psychedelia; the film's North American distributor, Cinelicious Pics, describes it as "equal parts J.R.R. Tolkien and gorgeous, explicit Gustav Klimt-influenced eroticism." A legendary cult classic, Belladonna of Sadness has never been officially released in the United States--until now. This publication accompanies the restored film's North American release.Beautifully produced in a colorful, large-format edition, this volume provides an indispensable companion to this incredible animated masterpiece, including script outtakes, stills and other ephemera from the film, a text about the film's painstaking restoration and interviews conducted with the film's illustrator, composer, and director Eiichi Yamamoto.The first printing of the book will include a Blu-ray disc of the 4k restored version of the feature film, with bonus features including interviews with the director, composer and illustrator of the film, original trailer and more. Once the first printing of the book is sold out, the Blu-ray will not be included with any future printings.

    10 episodes, 6h 30min.Delving deep into the darkest corners of horror movies this series explores the highs and lows of the blood and gore genre following, in particular, the changing fortunes of Universal Horror. From Dracula and Frankenstein to The Black Cat, a movie that even Universal executives deemed "too vile for public consumption", and beyond to the influences of science fiction and the new breed of horror films.

    With hundreds and hundreds of rare and unpublished photographs in color and black & white, readers are launched aboard a fun and entertaining virtual tour of Hollywood s first, most famous and most mysterious motion picture studio. Paramount is a self-contained city. But unlike any community in the real world, this city s streets and lawns, its bungalows and backlots, will be familiar even to those who have never been there. Now, for the first time, these much-filmed, much-haunted acres will be explored and the mysteries and myths peeled away bringing into focus the greatest of all of Hollywood s legendary dream factories."

    In Seth's Dominion, the National Film Board documentary by filmmaker Luc Chamberland about the acclaimed Canadian cartoonist, Seth has done just that.Presented here as an innovative double-spined hardcover that opens in two directions, one side opens with a photo essay narrating Seth's life while the other offers a generous sampling of Seth's art: comics and sketchbook pages, but also puppetry and New Yorker illustrations. Seth also speaks to the experience of making the documentary through a comics diary, constructed from rubber stamp images.Between these two halves lies Seth's Dominion, a masterly portrait that mixes insightful biography with vivid animation in an artful fusion of filmmaking techniques that perfectly captures Seth's manifold creative universe. From his melancholy reflections on childhood to his descriptions of his creative habits, Seth narrates his own life story enchantingly. With special features including two short animations and a taping of Seth speaking at the Drawn & Quarterly bookstore, Seth's Dominion is a triumph.

    This new, limited edition (1,000 copies), 200 page, all colour, hardback book delves deeper into the memories and experiences of over 35 members of the cast and crew, including John Landis, Rick Baker, David Naughton, Jenny Agutter, Griffin Dunne, Frank Oz and many more. Many people have said to Paul, “But the documentary was so extensive.” Paul is still very proud of the documentary, and of course there’s footage in there that you can’t put in a book, but trust us, in terms of stories, images and archive materials… this book blows it away on all fronts!When it comes to Werewolf movies, there is one movie that has transcended all others for the past 35-years. AN AMERICAN WEREWOLF IN LONDON stands like a colossus in the 'full moon' genre and continues to both tickle and terrify fans new and old across the globe. Not only did it revolutionise special makeup effects, this much loved cult classic spawned a multitude of horror flicks, including MICHAEL JACKSON'S THRILLER.​BEWARE THE MOON details, comprehensively, the journey of director John Landis' dream movie to the silver screen and the exotic events that served as inspiration for this seminal tale of lycanthropy. The book features over 300 photos, many of which have never before been published, and serves as the ultimate tribute to John Landis, Special Makeup Effects legend Rick Baker and to all those who contributed to the film's success and 35-year legacy.-All 1,000 hardback copies are numbered and signed by the author.-Over 300 behind the scenes photos, featuring images NEVER published before.-Interviews with over 35 members of the original cast and crew. Including material from both the original BEWARE THE MOON documentary sessions and brand new content.-Foreword by writer, director and producer Mick Garris.-Commentary from Guillermo del Toro, Neil Marshall, Edgar Wright, Greg Nicotero, Eli Roth, Wes Craven, and many more!-Exclusive cover art by Graham Humphreys.-A chat with cast and crew as to how AN AMERICAN WEREWOLF IN LONDON inspired the making of Michael Jackson’s THRILLER.-An exploration into the basement of Bob Burns, his wonderful American Werewolf collection and the mind blowing restoration work carried out by Tom Spina.

    He has represented Viola Davis, Kathy Bates, Brian Dennehy, and W.H. Macy among many and gifted others. He shares his practical trade secrets in this extraordinarily comprehensive guide on how to get into show business. Topics include: The Schools * The Business * Showcases * Casting Directors * Agents * Auditions * Which Coast? * Producers * Staying Real * Negotiating 101 * Where Do I Fit? * Movies * TV: Where the Real Money Is (These Days) * and more! His clients rave: * "He saw more in me than I saw in myself." Kyra Sedgwick * "A great and resonant canyon of thanks to Philip Carlson for his invaluable work with a generation of young talent including me." Billy Crudup* "Philip Carlson is one of the wisest people on the subject of building a career that will last. Luck didn't have him representing New York's top character actors; wisdom, intelligence, patience and loyalty did. He was, and is, as good as it gets." Tim Blake Nelson* "Philip Carlson was my 'Guide in shining armor!' Smart, honest and hardworking, this book is his thinking and experience on a shelf." Idris Elba* "I was so fortunate to have found Philip when I did. I can't imagine a better introduction to the world of acting and the business of getting there." Liev Schreiber

    This book looks at Scorsese s key techniques, showing how he uses space, framing, and a strong sense of direction, to en-sure that your films are brimming with tension, shock, and emotion."

    This comprehensive monograph surveys the full range of Van Sant's artistry from photography and painting to music, filtered through the perspective of his films. The exhibition and catalogue are a thoroughly original take on a distinctive filmmaker, bringing together all facets of his work for the first time and offering a fresh vision of his iconic filmmaking.The heart of Gus Van Sant: Icons is a previously unpublished interview with Van Sant conducted in Portland in June 2015 by Matthieu OrlEans, the exhibition's curator. In a wide-ranging conversation, the two men discuss the whole scope of Van Sant's work and inspirations. Van Sant connects himself to a lineage of other artists, citing William Burroughs, William Eggleston, Harmony Korine and Ed Ruscha as influences. The filmmaker offers firsthand anecdotes and in-depth appraisals of the production processes of each of his movies, from the experimental shorts of the 1970s to his most recent film, Sea of Trees, presented at the Cannes Festival in May 2015.

    The body, in which language resonates, becomes the body of the text itself and protracts its speaking.Here trees are trees and become trees. We learn by taking pleasure in the sublime essence of colors (leaf-green, earth-brown, sky-blue, bronzed-skin...), of timbres (voices, birds, steps...), of textures (flesh, fabric, earth...), the irreversibility of gestures. These shots are rich in their concerted poverty: here’s how. —Anne Benhaïem from introduction to "Conception of a Film"Sequence Press is pleased to announce the publication of the writings of the filmmaking couple Jean-Marie Straub and Danièle Huillet, presented for the first time in a critical, English-language edition. Two of the most exacting directors of the past fifty years, Straub and Huillet are renowned for their meticulous adaptations of works by giants of Western art and literature: Sophocles, Corneille, Bach, Hölderlin, Cézanne, Brecht, Schoenberg, Kafka, Pavese, et al. The publication coincides with the first complete U.S. retrospective of their films opening on May 6 at the Museum of Modern Art in New York, and the concurrent exhibition, Films and Their Sites, at Miguel Abreu Gallery.Jean-Marie Straub came of age as a slightly younger contemporary of the French New Wave. Like those directors, he began his career writing film criticism. “Writing about films,” Jean-Luc Godard later said, “was already a way of making films.” This volume thus begins with Straub’s early film criticism from the 1950s and traces the evolution of over five decades of writing activity, from manifestoes and trenchant declaratory texts, to detailed descriptions of working methods, letters, questionnaires and select interviews and oral interventions. Writings opens with an introduction by Sally Shafto that provides an in-depth look at Straub and Huillet’s beginnings, within the context of the emergent filmmaking forces of the time. The book highlights their rigorous methodologies as translators of key texts, and the precision work required to adapt those translations for the screen. As Straub himself said, “We are the only European filmmakers, filmmakers of European nations. We make films in Italian as well as in French and in German. Who else can say that?” The book brings us behind the scenes and reveals how their publication practices mirrored those of their film production and distribution, as they often made distinct versions of the same film using alternative takes and different languages.In addition to the published texts, the book comprises a richly illustrated Atelier section featuring three full length annotated film scripts, along with other pieces of writing, such as letters to their collaborators, shooting diagrams and schedules, lab notes, and press kits, all of which bring the reader into the heart of Huillet and Straub’s creative process. The volume closes with a Portfolio of intimate photographs of the filmmakers at work, with onsite observations by their long-time director of photography and collaborator, Renato Berta, and a detailed filmography.Jean-Marie Straub and Danièle Huillet resolutely eschewed a Hollywood style of spectacle filmmaking to create some of the most raw and beautiful, as well as innovative and profoundly moving films of our times. Their writings open up a further understanding of their essential contributions, and their unique place in film history.ContentsForeword by Miguel AbreuAcknowledgmentsIntroduction: Filmmakers at Work by Sally Shafto List of Films TEXTS— 1950s1. The 15th Venice Film Festival Began Brilliantly with the Americans 2. Grisbi, the Japanese, and Buñuel’s Genius 3. Does Rossellini’s Work Have a Christian Meaning? 4. Five New Films by Rossellini 5. Clouzot Smears the Viewer; Hitchcock Exalts the Public 6. Who Is Nicholas Ray? 7. Status of the New Filmmaker — 1960s8. Once Upon a Time There Was a Little Filmmaker 9. Portrait and Character 10. M= M 11. The Second Oberhausen Manifesto 12. Not “Performing,” Reciting 13. Frustration of Violence 14. Encounter with the New German Cinema 15. The Bach Film 16. Questionnaire on Film and Narrative 17. Straub Autobiography 18. Presentation of Not Reconciled 19. I Have Always Been Horrified … 20. Peter Nestler, a Documentarian Not Reconciled 21. On Ernst Lubitsch 22. Protest 23. The Bridegroom, the Actress, and the Pimp 24. Introduction to Nestler 25. Ferocious 26. Mao’s Last Judgment 27. Eliminate the System and the State — 1970s28. Introduction to Othon 29. Dubbing Is Murder 30. Othon: Presentation for Its Broadcast on German Television31. Filmcritica, Eisenstein, Brecht 32. “Not Reconciled” with Television Censorship 33. Filmmaking Must Retain Teamwork … 34. Filmography of Jean-Marie Straub 35. On The Business Affairs of Mr. Julius Caesar 36. Interview on Direct Sound 37. Small Historical Excursus 38. Letter to the Export Union of German Cinema 39. David Wark Griffith, Flower of the American Bourgeoisie 40. Huillet Autobiography 41. To Kluge — 1980s42. Letter to Jean Narboni 43. Witches (The Chimera?) 44. How to “Correct” Nostalgia 45. Letter to Fred Camper 46. Reagan at Bitburg 47. Fire: Alfred Edel 48. Letter to Wim Wenders 49. An Attack on the Reproducibility of a Work of Art 50. Hölderlin, That Is Utopia 51. Cézanne/Empedocles/Hölderlin/von Arnim 52. Conference: Conception of a Film 53. Filmcritica Is the Only Italian Review … — 1990s54. S.D. 55. Quite a Lot of Pent-Up Anger … 56. Interview on Chronicle of Anna Magdalena Bach 57. Debate on Images and Virtual Reality 58. Interview on Images and Magic 59. To the Inhabitants Alive and Dead of Hiroshima and Nagasaki60. Interview: No Appeasement 61. Autofilmography — 2000s62. Letter About La Vallée close 63. Questionnaire on Globalization 64. Frans van de Staak Has Died … 65. My Key Dates 66. Questionnaire on May 1968 67. Action Directe 68. The Oil Spill 69. Three Messages to the 63rd Venice International Film Festival Work Journal for Moses and Aaronby Gregory Woods with Annotations by Danièle Huillet ATELIERLetter to Renato Berta for Fortini/Cani Itinerary for Too Early,Too Late Letter to Willy Lubtchansky and Caroline Champetier for Too Early,Too Late Diagrams for The Death of Empedocles Shooting Schedule for Cézanne Lab Notes for Cézanne Negative Cutting Notes for Cézanne Sound Mix Notes for Cézanne Homage to Louis Hochet Shooting Notes for From Today until Tomorrow Letter to Willy Lubtchansky and Itinerary for Sicilia! Location Notes for Sicilia! Letter to Willy Lubtchansky About Sicilia!Press Kit for Antigone Annotated Script for Antigone Press Kit for Workers, Peasants Annotated Script for Workers, Peasants Press Kit for A Visit to the LouvreAnnotated Script for A Visit to the Louvre Letter to Julie Koltaï for Her Birthday Press Kit for These Encounters of Theirs Annotated Script for These Encounters of Theirs PORTFOLIO by Renato Berta Filmography Compendium of the Writings Selected Bibliography Index of Names Credits

    The result is some of the most eye-catching and influential costumes ever committed to film, from Ralph Lauren's trend-setting masculine style for Diane Keaton in Annie Hall to Audrey Hepburn's little black Givenchy dress in Breakfast at Tiffany's.Fashion in Film celebrates the contributions of fashion designers to cinema, exploring key garments, what they mean in context of the narrative, and why they are so memorable. Illustrated with beautiful film stills, fashion images and working sketches, this book will appeal to lovers of both fashion history and cinema.

    In this new and updated ultimate filmmaker’s guide, Louise Levison gives you easy-to-use steps for writing an investor-winning business plan for a feature film, including: A comprehensive explanations for each of the eight sections of a plan Full financial section with text and tables A sample business plan A companion website with additional information for various chapters and detailed financial instructions ― advanced math not needed An explanation on how feature documentary, animated and large-format films differ A guide to pitching to investors: who they are, what they want and what to tell them Words of advice: Filmmakers share their experiences raising money from equity investors

    Each poster is removable and designed to fit the standard frame size 12 x 16 inches.The posters included are: The Man with the Golden Arm; Saint Joan; Love in the Afternoon; Bonjour Tristesse; The Big Country; Vertigo; Anatomy of a Murder; Exodus; Spartacus; The Magnificent Seven; Advise & Consent; The Cardinal; In Harm's Way; Bunny Lake is Missing; Seconds; Grand Prix; The Fixer; Such Good Friends; The Shining; Schindler's List.

    Oscar-winning production designer Peter Lamont worked behind the scenes on 18 lames Bond films, beginning with the 1960s classics starring Sean Connery and George Lazenby. Along the way, he worked with director James Cameron and contributed to The Ipcress File and Chitty Chitty Bang Bang. The Man With the Golden Eye is a richly illustrated memoir that provides an unparalleled insight into some of the best-loved films ever made.

    This collection features original character sketches and never-before-seen concept art, offering a unique look inside the studio that created Chicken Run, Morph, and, of course, Wallace & Gromit. Kicking things off with forewords from founders Peter Lord and David Sproxton, this celebration of all-things Aardman is a musthave for all animation fans.

    In this finely crafted book, dazzling concept art, behind-the-scenes photography, CG designs, and more come together to highlight the visual spectacle of the film. Delving into the film’s interpretation of iconic Jungle Book elements, from beloved characters such as Baloo and Bagheera to the jungle itself, the book features full-color images and gorgeous double-page spreads to illustrate the magic behind the art of the film. Exclusive interviews with key cast and crew provide context for the incredible imagery, resulting in a truly immersive experience. Colorful and comprehensive, this essential movie companion also provides a fascinating look at how director Jon Favreau and his team used state-of-the-art CG and motion-capture technology to create the film’s realistic and stunning visuals, providing an enthralling experience for fans of all ages.

    Explore the memorable new characters and old favorites, plus key locations, themes, and iconic moments from the movie. Finding Dory: The Essential Guide is a captivating companion to the animated movie, packed with thrilling stills and character art and is presented in DK's lively and informative nonfiction style.© 2016 Disney/Pixar

     What did The Hoxton Creeper have in common with Abraham Lincoln? Who got top billing on The Hound of the Baskervilles, and why? Who was Harry "The Henchman"? Find out within...

    It also examines the ways in which writers and producers can benefit from working with a professional script editor as they seek to refine and communicate their vision. This is a valuable resource for anyone developing a script, for writers and producers interested in expanding their understanding of how a script is advanced, and for those pursuing a career in script development.

    Through candid, high-quality stills we see the cast and crew at work, in costume, rehearsing, in make-up, and during filming. Some choice pieces of original concept art add greater context to the shoot and showcase the remarkable level of design. Also features insightful quotes from original interviews.

    Film history is filled with stars created by the studio system. Occasionally, however, a performer emerged who, against all preconceived odds of what a star should be or look like, knocked down the walls of convention by becoming nothing other than what they already were. Frank Sinatra was the embodiment of this fundamental truth. The legacy of his work stands apart from many of his contemporaries, who essentially based their performances on an extension of a core character type. Sinatra, however, was able to take his signature persona and translate it successfully into many film genres-first as the comedic song-and-dance man, then as the dramatic actor and romantic lead, and finally as the tough guy and action hero. Sinatra also respectfully challenged contemporary ideals of acting technique. While being humble enough to learn from his peers, he kept his acting style fresh and instinctual, and earned an Oscar at a time when many actors were either classically trained or coached in the "Method."In The Cinematic Legacy of Frank Sinatra, author David Wills presents a stunning collection highlighting the work of one of Hollywood's greatest stars in roles as varied as those in the classics Anchors Aweigh, From Here to Eternity, Suddenly, Guys and Dolls, The Man With the Golden Arm, Ocean's 11, The Manchurian Candidate, Von Ryan's Express, and The Detective. Pairing more than two hundred first-generation photos with reflections on Sinatra from costars and work associates, and including contributing essays by his children Nancy Sinatra, Tina Sinatra, and Frank Sinatra, Jr., it is an unforgettable showcase of the actor's transformation from world-famous singer, to movie star, to Academy Award winner, and finally to one of the most enduring icons in cinema history.

    Derrida’s reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined. Following Derrida’s interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida’s philosophy.

    Based on the author's own experiences of writing about and teaching film as well as serving as an adviser to then-Minister of Education Jack Lang, Bergala promotes an understanding of film as an autonomous art form - rather than viewing it as a supplement to other established school subjects. Film, for Bergala, is not something that has to smoothly blend into the school but something that can serve as a productive rupture, for both institution and pupil. Published in collaboration with the British Film Institute, this edition will be complemented by a new introduction on the occasion of its first appearance in English and a conversation with Bergala about the current state of film education on an international scale.

    

    A three-time winner of the Daily Mail Film Award, her iconic films The Lady Vanishes, The Man in Grey and The Wicked Lady gained her legions of fans and the nickname Queen of the Screen.With a career spanning fifty years, Margaret reinvented herself from a film star, to an Agatha Christie heroine on the West End, to a television icon in the 1970s series, Justice. Written to coincide with Margaret's centenary, this in-depth biography offers a fresh perspective on an independent woman who was intensely private away from the spotlight and whose life was unlike anything that was reported in the fan magazines.

    In Sheep, Philip Armstrong traces the natural and cultural history of both wild and domestic species of ovis, from the Old World mouflon to the corkscrew-horned flocks of the Egyptians, from the Trojan sheep of Homer’s Odyssey to the cannibal sheep of Thomas More’s Utopia, from the vast migratory mobs of Spanish merinos all the way to Dolly—the first animal we have ever cloned—and Haruki Murakami’s sheep-human hybrids.             As Armstrong shows, humans have treated sheep with awe, cruelty or disdain for many thousands of years. Our exploitation of them for milk, meat, and wool—but also for artistic and cultural purposes—has shaped both our history and theirs. Despite all that we owe them we have often dismissed sheep as the least witted and least interesting of mammals: to be accused of “sheepishness” or behaving “like a flock of sheep” is to be denigrated for lack of courage, individuality, or will. Yet, as this book demonstrates, sheep actually possess highly sophisticated social skills and emotional intelligence. Above all, Sheep demonstrates that sometimes the most mundane animals turn out to be the most surprising.

    Not only does it cover Toho’s dai kaiju eiga (even the rarely seen Daigoro vs. Goliath), but for the first time in America offers reviews, trivia and detailed production information on all of Daiei’s classic Gamera films, Toei’s Legend of Dinosaurs and Monster Birds, and even the Shaw Brother’s Mighty Peking Man to name a few. Still think you already know it all about Japanese giant monster films? Did you know that King Seesar originally had antlers and was named King Barugan? Or that Tadao Takashima refused to fly to Guam for on location filming for Son of Godzilla? Or that Katsumi Nimiamoto, who played Titanosaurus in Terror of Mechagodzilla was also the acrobatic hero of Ultraman Leo on TV? Don’t know who Tadao Takashima or Katsumi Nimiamoto are, don’t worry this book will tell you that too. If you think you’ve already read every good book on Japanese Giant Monsters think again. Wait there’s more!!!! This book also offer bonus entries on non-kaiju films like Battle in Outer Space, Toho’s Hammer horror inspired “Bloodthirsty Trilogy” and Agon the Atomic Dragon to name only a few. Plus, this Revised and Expanded Edition covers over 25 new films including Warning from Space (1956), The Birth of Japan (1959), The Whale God (1962), Voyage Into Space (1970), Submersion of Japan (1973), Jumborg Ace and Giant (1974), and Attack of the Super Monsters (1982) to name only a few!

    You need to be prepared to not only nab that first role, but build a stellar career. Setlife is a must-have guide designed to prepare you for what happens on a typical day on a film set. It will help you if you're studying, have just landed your first job, or are continuing to sharpen your skills a few projects in. Matt Webb's no-fuss, practical tips are essential reading for anyone chasing a career in the film industry. Negotiating contracts, understanding key departments, figuring out which role is for you, as well as exclusive interviews with Oscar winning directors and crew -- this book will help you land that foot in the industry door -- and keep it there. It's all that film-world knowledge you won't learn elsewhere.

    Our three films for this issue all involve prostitution in some way, though it may be for money, power, or simply a way to start over. None show the path as easy– or as nasty– as many later Hollywood films would deem fitting.Features pieces on films Midnight Mary, The Purchase Price, and Frisco Jenny, as well as biographies of actors Loretta Young, George Brent, and director William A. Wellman.

    To make a great film is almost impossible. This is especially the case for Superman: The Movie. It has become a classic, revered as one of the great works of fantasy cinema and the beginning of a new genre that has redefined the American film industry. But its making was a mammoth undertaking that nearly crushed those involved beneath the sheer weight of its creation. The result was a relentless battle between the film's director Richard Donner and its producers, Alexander and Ilya Salkind. That war resulted in decades of enmity and hatred, the ruin of Superman II, and recriminations that continue to this day. Here, for the first time, is the true story of the epic battle over Superman: The Movie. BENJAMIN KERSTEIN is a film critic who has written for The New Ledger, The Federalist, and Azure. He lives in Tel Aviv.

    Documentary photographs on a clandestine trip to Russia, forbidden scenes from the VEB Buna chemical plant, and observations of punks and other young rebels are interwoven with intense full-body and portrait photographs of her friends as well as a photographic love story. Combined with texts in the form of subtitles, this poignant body of work captures a cinematic-like quality. Bara also shares her search for feminine identity within the subversive, melancholy rebellion against East Germanys dictatorial system. Her photographs convey the collective need to break out of a monotonous system repressive of individuality and self-will that no longer exist. This visual diary captures a moment right before the collapse of an entire political and ideological system.

    From silents of the 1920s to his final feature in 1976, the director's many films continue to entertain audiences and inspire filmmakers. In The Alfred Hitchcock Encyclopedia, film critic Stephen Whitty provides a detailed overview of the director's work. This reference volume features in-depth critical entries on each of his major films as well as biographical essays on his most frequent collaborators and discussions of significant themes in his work. For this book, Whitty draws on primary-source materials such as interviews he conducted with associates of the director-including screenwriter Jay Presson Allen (Marnie), actresses Eva Marie Saint (North by Northwest) and Kim Novak (Vertigo), actor Farley Granger (Strangers on a Train), actor and producer Norman Lloyd (Saboteur), and Hitchcock's daughter Patricia (Stage Fright; Psycho)-among others. Encompassing the entire range of the director's career-from early influences and silent films to his decade-long television show and cameos in nearly every feature-this is a comprehensive overview of cinema's ultimate showman. A detailed and lively look at the master of suspense, The Alfred Hitchcock Encyclopedia will be of interest to professors, students, and the many fans of the director's work.

    The "songs" of the film's title refer to Andersson's artistic ruminations on the state of mankind from his office on the second floor of Studio 24 in Stockholm. The film presents a series of forty-six tableaux--long, deep-focus shots with a still camera, mostly in studio settings, using older visual tricks such as trompe l'oeil. The tableaux showcase seemingly trivial tragicomic situations designed to provoke thoughts about existential guilt, broken relationships, and the failure of social institutions to treat people as human beings.Lindqvist draws from interviews with Andersson and his team that provide a behind-the-scenes look at how the film was made and investigates its philosophical and artistic influences, providing a nuanced reading of a film that has both befuddled and entranced its viewers. This first book-length study in English of Andersson's work considers his aesthetic agenda and the unique methods that have become hallmarks of his filmmaking, as well as his firm belief in film's revolutionary function as social critique.

    Most of them stunk. With over 2500 reviews on the Horror Movie A Day website, finding the worthwhile ones can be a chore, so Collins has curated a selection of choice films - 365 of them in fact, one for every day of the year. Each month has a different theme and offers a variety of films within that theme for your viewing enjoyment. Every movie is someone's favorite movie - perhaps this book will introduce you to yours.

    

    By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7.Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts-identification, framing the woman's body, and the female auteur-Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

    Both films garnered international acclaim, with the second breaking box-office records for a Spanish feature and winning three Oscars. Both films rank among the best films of the decade.For the first time, editor Danel Olson approaches these movies as cinematic siblings whose quests are bound together. In addition to interviews, never-before-seen photographs, and concept drawings, international scholars offer ten essays on the themes of philosophy, sex, metaphor, feminism, fascism, music, fantasy, ghosts, and history in the films, as well as del Toro’s literary and artistic influences.

    Misrach has been photographing the 2,000-mile border between the US and Mexico since 2004, with increased focus since 2009--the latest installation in his ongoing series Desert Cantos, a multifaceted approach to the study of place and man's complex relationship to it. Misrach and Galindo have been working together to create pieces that both document and transform the artifacts of migration. Using water bottles, clothing, backpacks, Border Patrol drag tires, spent shotgun shells, ladders and sections of the border wall itself, most of which were collected by Misrach, Galindo fashions instruments to be performed as unique sound-generating devices. He also imagines graphic musical scores, many of which also use Misrach's photographs as points of departure. A unique melding of the artist as documentarian and interpreter, the book includes several suites of photographs drawn from a number of distinct series or Cantos, some made with a large-format camera as well as an iPhone. The book contains a compilation of two dozen sculpture-instruments, graphic scores, instrument designs and links to videos of performances by Galindo.

    Or, to borrow the title of a classic 1959 Fox film, The Best of Everything. This is the complete revelatory story bookended by empire builders William Fox and Rupert Murdoch aimed as both a grand, entertaining, nostalgic and picture-filled interactive read and the ultimate guide to all things Twentieth Century Fox. The controversies and scandals are here, as are the extraordinary achievements. Among other firsts, the book offers fun tours of its historic production and ranch facilities including never-before-told stories about its stars and creative personalities (Marilyn Monroe, Elvis Presley, James Dean, and Shirley Temple got started there), as well as a complete company timeline stuffed with fascinating trivia. Finally, it is the first such work approved by the company and utilizing its own unique resources. The authors primarily tell a celebratory tale, but most importantly, an accurate one."

    But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms.Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail, and to teach composition, color theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema.Insightful case studies explore the links between art and cinema through the work of seven high-profile filmmakers, including Peter Greenaway, Peter Webber, Jack Cardiff, Martin Scorsese, Guillermo del Toro, Quentin Tarantino and Stan Douglas. A range of practical exercises are included in the text, which can be carried out singly or in small teams.Featuring stunning full-color images, Art History for Filmmakers provides budding filmmakers with a practical guide to how images from art can help to develop their understanding of the visual language of film.

    Now she shares the wonders of her recent work communicating with wild, and in some cases endangered, animals. Amelia takes readers on a rollicking ride as she visits with tigers, elephants, lions, great white sharks, black mamba snakes, whales, and bees. Traveling all over the world, Amelia reveals the inner thoughts and feelings of these extraordinary animals and shares the advice she has gleaned — words about tenderness, reconnection with nature, life after death, and the possibilities of magical awakenings inside the brains of an ever-evolving human race. Anyone with a heart, mind, and funny bone will delight in this invitation to understand and appreciate our fellow inhabitants of planet Earth.

    And in the depths of the Depression, to boot! Success like this was bound to be noticed by Hollywood, which came calling right away. This fact-filled monograph charts The Shadow's lengthy history in movies, from modestly produced short subjects made in 1931 to the multi-million-dollar spectacular released in 1994 with Alec Baldwin as the legendary Master of Darkness. Brimming with behind-the-scenes production info and illustrated with rare photos, posters, lobby cards, magazine covers, and even frame captures from the movies themselves, FLICKERING SHADOWS is one of the most absorbing pop-culture histories published in years.

    And then they exploit that fear again and again until it is all but meaningless...The term MURDERDRONE is evocative of repetition...The perpetual rhythm in these films is nightmarish in its own way, but each time a murder or attack occurs, the inevitability of it happening again is both more enticing and more exasperating. Each murder builds upon the last, not just in terms of quantity, but also by eliciting a sense of hopelessness and ultimately, acceptance.And so strong is our desire to demystify death, that even when we know exactly what’s coming we choose to stick around and watch anyway.

    Three movies mired in the Depression Era examined the new realities of work, love and family all with a grim assessment. Lives are destroyed and a country is left in ruins– and hope seems foolhardy.Features articles on Heroes for Sale (1933), Wild Boys of the Road (1933), They Call It Sin (1932), Una Merkel, Frankie Darro, and Richard Barthelmess. All profits from the sale of this issue are donated to the ASPCA.

    Regarded as one of film history's most elusive figures, Bresson (1901–1999) carried himself as an auteur long before cultural magazines, like the famed Cahiers du cinéma, advanced the term to describe such directors as Jacques Tati, Alfred Hitchcock, and Jean-Luc Godard. In this groundbreaking study, Burnett combines biography with cultural history to uncover the roots of the auteur in the alternative cultural marketplace of midcentury France.

    Author James Baldwin said of her, "She was the only American film actress who reminded me of reality." Film historian John Springer called her the "finest emotional actress" of Hollywood's Golden Age. Her work enhanced landmark films of the 1930s, yet it wasn't until 1974 that Sidney received an Academy Award(r) nomination (Summer Wishes, Winter Dreams). Sidney was blunt and opinionated, offering salty assessments of her directors and co-stars. She had high praise for Spencer Tracy and James Cagney, but her opinion of Humphrey Bogart was less than enthusiastic. A whole new generation of fans enjoyed Sidney's about-turn in Tim Burton's Beetlejuice (1986). Along with acting, her passion for pug dogs and needlepoint contributed to the fascinating persona that was Sylvia Sidney. Author Scott O'Brien had input from Sylvia Sidney's co-stars and friends for this long overdue biography of one of cinema's best. Three of O'Brien's books have made the Huffington Post's "Best Cinema Books of the Year."

    Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story. Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture. Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.”  Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques.  The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.

    Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.

    But none can match the visceral dread evoked by a child with an innocent face and a diabolical stare. Cinema’s evil children attack our cherished ideas of innocence and our innocent bystander status as the audience. A good horror film is a scary ride—a “devil child” movie is a guilt trip. This book examines 24 international films—with discussions of another 100—that in effect “indict” viewers for crimes of child abuse and abandonment, greed, social and ecological negligence, and political and war crimes, and for persistent denial of responsibility for them all. For 75 years evil children have ritually rebuked audiences and, in playing on our guilt, established a horror subgenre that might be described as a blood-spattered rampage on an ethical mission.

    Visit www.luminosoa.org to learn more.Precarious Creativity examines the seismic changes confronting media workers in an age of globalization and corporate conglomeration. This pathbreaking anthology peeks behind the hype and supposed glamor of screen media industries to reveal the intensifying pressures and challenges confronting actors, editors, electricians, and others. The authors take on pressing conceptual and methodological issues while also providing insightful case studies of workplace dynamics regarding creativity, collaboration, exploitation, and cultural difference. Furthermore, it examines working conditions and organizing efforts on all six continents, offering broad-ranging and comprehensive analysis of contemporary screen media labor in such places as Lagos, Prague, Hollywood, and Hyderabad. The collection also examines labor conditions across a range of job categories that includes, for example, visual effects, production services, and adult entertainment. With contributions from such leading scholars as John Caldwell, Vicki Mayer, Herman Gray, and Tejaswini Ganti, Precarious Creativity offers timely critiques of media globalization while also intervening in broader debates about labor, creativity, and precarity.

    Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe 'maverick' white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream 'chick flick' and the ideological and experimental radicalism of feminist counter-cinema alike, women's indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the 'difference' of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work — while embracing the 'in-between' space in which the narratives they represent and embody can be revealed.

    Offering a groundbreaking study of Hollywood films produced since 2000, Abstinence Cinema comes to a very different conclusion, finding echoes of the evangelical movement’s abstinence-only rhetoric in everything from Easy A to Taken. Casey Ryan Kelly tracks the surprising sex-negative turn that Hollywood films have taken, associating premarital sex with shame and degradation, while romanticizing traditional nuclear families, courtship rituals, and gender roles. As he demonstrates, these movies are particularly disempowering for young women, concocting plots in which the decision to refrain from sex until marriage is the young woman’s primary source of agency and arbiter of moral worth. Locating these regressive sexual politics not only in expected sites, like the Twilight films, but surprising ones, like the raunchy comedies of Judd Apatow, Kelly makes a compelling case that Hollywood films have taken a significant step backward in recent years.  Abstinence Cinema offers close readings of movies from a wide spectrum of genres, and it puts these films into conversation with rhetoric that has emerged in other arenas of American culture. Challenging assumptions that we are living in a more liberated era, the book sounds a warning bell about the powerful cultural forces that seek to demonize sexuality and curtail female sexual agency.

    The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.

    movie business became big business in the 1920s, women--who had been essential to the industry's early development--were systematically squeezed out of key behind-the-camera roles. Yet, while female producers and directors virtually disappeared for decades, a number of female film editors remained, rose to the top of their profession, and sometimes wielded enormous power and influence. In turn, their models inspired another generation of women to enter the profession at mid-century, several of whom were critical to revolutionizing and revitalizing U.S. filmmaking in the 1960s and 1970s.

    Not only bewildering in number, Deleuze's writing procedures mean his exegesis is both complex and elusive. Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film? David Deamer's book is the first to fully respond to these three questions, unearthing the philosophies inspiring Deleuze's classifications, exploring every concept and reading a film for each. Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, Deamer also opens up new areas of enquiry for expert readers.

    By 1929, Gance was France’s most famous director. Acclaimed for his technical innovation and visual imagination, he was also admonished for the excessive length and expense of his productions. Gance’s first sound film, La Fin du Monde (1930), was a critical and financial disaster so great that it nearly destroyed his career. But what went wrong? Gance claimed it was commercial sabotage whilst critics blamed the director’s inexperience with new technology. Neither excuse is satisfactory. Based on extensive archival research, this book re-investigates the cultural background and aesthetic consequences of Gance’s transition from silent filmmaking to sound cinema. La Fin du Monde is revealed to be only one element of an extraordinary cultural project to transform cinema into a universal religion and propagate its power through the League of Nations. From unfinished films to unrealized social revolutions, the reader is given a fascinating tour of Gance’s lost cinematic utopia.

    After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Suss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust?The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his work within the contexts of World War II and film history as a whole.Rivaled only by Leni Riefenstahl, Veit Harlan remains one of Germany's most infamous filmmakers, and virtually every book on Nazi cinema contains at least one chapter about Harlan or an analysis of one of his movies. This biography -- supplemented by production histories and rare interviews with actors, actresses, and cameramen -- offers the first comprehensive analysis of the director and his work and adds new perspective to the growing body of scholarship on filmmaking under the Third Reich.

    Radax interwove the monologue with a variety of metaphorically resonant visual techniques—blacking out the screen to total darkness, suggestive of the closing of the observing eye; cuts to scenes of cameramen, lighting and recording equipment; extreme camera distance and extreme closeup. Bernhard had not yet written his autobiographical work Gathering Evidence, published originally in five separate volumes between 1975 and 1982, and his childhood remembrances were a revelation. This publication of Bernhard’s monologue and stills from Radax’s artful film allows this unique portrait of Bernhard to be savored in book form.

    Early pioneers, such as Alice Guy Blaché, directed hundreds of films, invented techniques, ran businesses and set up distribution but with the rise of the male-dominated studio system, their significant contribution to the dawn of the movies has long been forgotten.With chapters on the writers, directors, producers, stars, film editors, designers and camera women of the silent era this book acknowledges and celebrates the many talented women who were significantly involved in the rise of the industry and explains why the coming of the talkies and big business led to the inequality which exists today.Melody Bridges studied English and Drama at Cambridge University and has written, acted and directed for theatre before working in TV where she developed, wrote, produced and directed two television series. In addition to contributing to Celluloid Ceiling, she writes a weekly page for a newspaper, and is artistic director of Worthing’s WOW Festival. In 2014, she was a Finalist as Influential Woman of the Year at the NatWest Venus Awards. She has recently given a TEDx talk.Cheryl Robson is a producer/director of several short independent films, most recently Rock n Roll Island. She worked at the BBC for several years and then taught filmmaking at the University of Westminster, before setting up a theatre company. She also created a publishing company where she has edited over fifty books and published over 150 international writers. As a writer, she has won the Croydon Warehouse International Playwriting Competition and as an editor, she worked with Gabrielle Kelly to publish Celluloid Ceiling: women film directors breaking through, the first global overview of women film directors. She also received a Special Jury Prize for Peace with author Robin Soans, for The Arab-Israeli Cookbook.

    Appearing in 1972, Aguirre put Herzog on the map of world cinema. But the film's importance also derives from the young German director's tense, behind-the-scenes relationship with actor Klaus Kinski. Did Herzog really direct him at gunpoint? Did they plot each other's murder? The legends begin here …In this groundbreaking book, Eric Ames reconstructs the film as an experiment in visualising the past from the viewpoint of the present. Aguirre is not a history film in the narrow sense, but it does engage a specific episode in the conquest of the New World, and it explores that history in terms of vision. Interweaving close analysis with extensive archival research, Ames explores Aguirre as a seminal film about the madness and hopelessness of Western striving. In addition, as an appendix, he offers for the first time a complete translation of an infamous, secretly recorded argument between Herzog and Kinski on the set.

    

    Unapologetically incorporating her body into her works of art, Carolee Schneemann emerged as one of the leading forces in the feminist art movement of the 1970s. This wide-ranging book follows Schneemann's remarkable career in its entirety. The monograph shows the immense range of Schneemann's oeuvre: paintings, assemblages, performances, experimental films, and video installations. Including the controversial works for which she is most famous, such as Eye Body, Meat Joy, and Interior Scroll, this volume takes a critical look at various themes in the artist's career, focusing particularly on what the artist termed kinetic painting. Essays on Schneemann's personal politics, her experimental film, and the purposeful ambiguities of her pieces offer clear-eyed perspectives on the brilliance of her work. Illustrations of her work are accompanied by Schneemann's own commentary. Schneemann's work emerges as a celebratory, liberating, and important aspect of creative expression that stands in its own right--and stands the test of time.

    In this biography, David A. Shafer takes readers on a voyage through Artaud’s life, which he spent amid the company of France’s most influential cultural figures, even as he stood apart from them.             Shafer casts Artaud as a person with tenacious values. Even though Artaud was born in the material comfort of a bourgeois family from Marseille, he uncompromisingly rejected bourgeois values and norms. Becoming famous as an actor, director, and author, he would use his position to challenge contemporary assumptions about the superiority of the West, the function of speech, the purpose of culture, and the individual’s agency over his or her body. In this way—as Shafer points out—Artaud embodied the revolutionary spirit of France. And as Shafer shows, although Artaud was immensely productive, he struggled profoundly with his creative process, hindered by narcotics addiction, increasing paranoia, and an overwhelming sense of alienation. Situating Artaud’s contributions within the frenzy of his life and that of the twentieth century at large, this book is a compelling and fresh biography that pays tribute to its subject’s lasting cultural reverberations.

    You may have seen Mae Marsh in The Birth of a Nation (1915), Constance Talmadge in Intolerance (1916), or Lillian Gish in Broken Blossoms (1919), but their sisters also starred in major motion pictures, such as Marguerite Marsh in The Master Mystery (1919), Norma Talmadge in The Battle Cry of Peace (1915), and Dorothy Gish in Orphans of the Storm (1921). These six appeared in countless movies. Most of their films are lost, but their legends remain. Few knew at the time that these extraordinary women were more than just faces on a screen; they were complex and human, with sometimes strange parents, body image issues, and relationship struggles. Their mistakes and triumphs often mirrored our own, though they were miles away in Hollywood. Their stories of violent marriages, heartbreaking tragedies, drastic surgeries, and secret identities are finally revealed in a candid expose of the truth behind the tinsel. Sister stars in Reels and Rivals that are profiled include: Norma and Constance Talmadge; Lillian and Dorothy Gish; Edna Flugrath and sisters Shirley Mason and Viola Dana; Helene and Dolores Costello; Poly Ann and Loretta Young with sister Sally Blane; Constance and Faire Binney; Priscilla and Marjorie Bonner; Grace and Mina Cunard; Alice and Marceline Day; Marion and Madeline Fairbanks; Laura and Violet La Plante; Mae and Marguerite Marsh; Ella, Ida Mae, and Fay McKenzie; Beatriz and Vera Michelena; Mary and Florence Nash; Sally O'Neil and sister Molly O'Day; Mabel and Edith Taliaferro; Olive and Alma Tell; and famous Vaudevillians The Duncan Sisters and The Dolly Sisters. Illustrated with 94 studio portraits, film stills, and candid photos that capture the glamour and excitement of Hollywood's Golden Era. Indexed. About the author: Jennifer Ann Redmond's work has been featured in Classic Images, Vintage Life, and ZELDA magazine. She resides in her childhood home on Long Island, New York."

    Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized.  Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity.    Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com

    This volume is made up of eleven essays employing historical and theoretical methodologies in the examination of spectatorship, marketing, melodrama, the transition of novel to screenplay, and racial politics and identity, among other significant topics. In doing so, the book fills a substantial gap that exists in the black cinematic narrative and, more broadly, in film history. Beyond Blaxploitation is divided into three sections that feature original essays on a variety of canonical blaxploitation films and others that either influenced the movement or in some form represent a significant extension of it. The first section titled, "From Pioneer to Precursor to Blaxploitation," centers on three films--Cotton Comes to Harlem, Watermelon Man, and Sweet Sweetback's Baadasssss Song--that ignited the African American film cycle. The second section, "The Canon and the Not so Canon," is dedicated to forging alternative considerations of some of the most highly regarded blaxploitation films, while also bringing attention to lesser-known films in the movement. The final section, "Was, Is, or Isn't Blaxploitation," includes four essays that offer significant insights on films that are generally associated with blaxploitation but contest traditional definitions of the movement. Moreover, this section features chapters that address industrial factors that led to the creation of blaxploitation cinema and highlight the limitations of the term itself. Beyond Blaxploitation is a much-needed pedagogical tool, informing film scholars, critics, and fans alike, about blaxploitation's richness and complexity.

    Still included, of course, are many rare early articles and such seminal essays as Borde and Chaumeton's "Towards a Definition of Film Noir" from Panorama du Film Noir Americain, Paul Schrader's "Notes on Film Noir " and "Paint It Black: the Family Tree of the Film Noir" by Raymond Durgnat. With newer studies such as "Lounge Time" by Vivian Sobchack, "Manufacturing Heroines in Classic Noir Films" by Sheri Chinen Biesen, and "Voices from the Deep: Film Noir as Psychodrama" J. P. Telotte, this collection of over 30 articles probes this most influential American film movement from varying angles: formalist, feminist, structuralist, sociological, and stylistic; narrative-thematic historical, and even from the point of view of a pure aficionado. There is something in this volume for every student or devotee of film noir. Plus like the readers that have proven an invaluable tool for academics planning a syllabus, it can serve as the most complete core text for any of the myriad of film noir courses taught throughout the world.

    In this authoritative volume, writer and historian Scott Tracy Griffin traces the development of the history-making Tarzan franchise, from the motion-picture industry’s early silents and serials, through the high point of the Metro-Goldwyn-Mayer era featuring Johnny Weissmuller and Maureen O’Sullivan, to modern worldwide hits like Greystoke: The Legend of Tarzan, Lord of the Apes and Walt Disney Studios’ animated Tarzan.