but he comes from the Year of Darkness, 2029. He was created to reshape the future by destroying the present. He feels no pity, no pain, no fear. He feels nothing. He is an unstoppable killing machine programmed for murder. He is...The Terminator

    This is a full-fledged lovers' tragedy between a drifter-turned-writer and the fatally flawed Betty, his muse and obsessive promoter.

    In answer to countless requests from I Love Lucy fans around the world, Bart Andrews has revised, updated, and expanded his classic book on TV's most beloved series.B & W photographs throughout.

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

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

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

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

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

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

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

    

    

    Full-color designs on heavy stock, ready to be cut, recall Marilyn in The Asphalt Jungle, Gentlemen Prefer Blondes, All About Eve, Niagara, River of No Return, and other red-hot roles. 1 doll, 16 plates of outfits.

    Written by Moe Howard's daughter, this detailed biography is bursting with photographs Curly traces the life of one wacky Stooge from birth to his final status as a cult hero.

    

    They live in a small fishing village called the Goon Docks.And each one has taken the Goony Oath to stick together until the world ends.Now the Goonies face their biggest challenge ever-to save the Goon Docks from being torn down. Things are looking desperate...until Mikey finds the treasure map of One-Eyed Willy, a pirate who disappeared long ago. If the Goonies can find his hidden treasure, they can buy back the Goon Docks.But it won't be easy. One-Eyed Willy hid the treasure well, in the watery caverns along the coastline. And the Goonies aren't the only ones looking for it. A gang of criminals is after it too-and they'll stop at nothing to get it.

    

    Joe Adamsom guides the reader around Avery's flipped-out universe - surreal, violent and erotic. Through interviews with Avery's gagmen and script writers, together with sensitive analyses of such classics as Kingsize Canary and Red Hot Riding Hood, and with dozens of original sketches and a filmography, the book provides a comprehensive study of an important pioneer of animation.

    

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