Lewis.C.S. Lewis wrote the classic children's series over 50 years ago, and the amazing land of Narnia is finally coming to the big screen. This beautiful book captures the creative energy behind this film and offers the official inside story on how the magic was made.Includes selections from the script, still shots from the film, photos of the production, an introduction and stories throughout from the producer, Perry Moore, reflections and anecdotes from cast and crew, and much more.By going beyond the usual soundbites which make up traditional 'Making Of' books, this insider's account allows for the real personality of the project and its people to shine through its pages.

    2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    They are immediately attracted. Despite knowing this may be the only time they will see each other, in the next few hours in the city of Vienna, they share everything and promise to meet again.    Nearly a decade later, Jesse, now a novelist on a publicity tour, sees Celine in a bookstore in Paris. Again their time is short, and they spend it reestablishing the connection they experienced on their first meeting. Romantic, poignant, understated, and often profound, these two screenplays are sure to become classics in their own right.

    Five hundred years in the future, Captain Mal Reynolds and the crew of the transport-for-hire ship Serenity take on two new passengers and soon find themselves in a crossfire between an invincible military force and cannibalistic savages.

    Now, for the first time and in their own words, over two hundred alumni of the series recall a quarter century's worth of never-before-told tales. Filled with all the backstage stories, struggles and controversies behind the onscreen mayhem, this candid and exhaustive history takes you inside the record-breaking franchise like no book ever has.

    Neither a snob nor a shill, Ebert manages in these essays to combine a truly populist appreciation for today's most important form of popular art with a scholar's erudition and depth of knowledge and a sure aesthetic sense. Once again wonderfully enhanced by stills selected by Mary Corliss, former film curator at the Museum of Modern Art, The Great Movies II is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.Films featured in The Great Movies II12 Angry Men · The Adventures of Robin Hood · Alien · Amadeus · Amarcord · Annie Hall · Au Hasard, Balthazar · The Bank Dick · Beat the Devil · Being There · The Big Heat · The Birth of a Nation · The Blue Kite · Bob le Flambeur · Breathless · The Bridge on the River Kwai · Bring Me the Head of Alfredo García · Buster Keaton · Children of Paradise · A Christmas Story · The Color Purple · The Conversation · Cries and Whispers · The Discreet Charm of the Bourgeoisie · Don’t Look Now · The Earrings of Madame de . . . · The Fall of the House of Usher · The Firemen’s Ball · Five Easy Pieces · Goldfinger · The Good, the Bad and the Ugly · Goodfellas · The Gospel According to Matthew · The Grapes of Wrath · Grave of the Fireflies · Great Expectations · House of Games · The Hustler · In Cold Blood · Jaws · Jules and Jim · Kieslowski’s Three Colors Trilogy · Kind Hearts and Coronets · King Kong · The Last Laugh · Laura · Leaving Las Vegas · Le Boucher · The Leopard · The Life and Death of Colonel Blimp · The Manchurian Candidate · The Man Who Laughs · Mean Streets · Mon Oncle · Moonstruck · The Music Room · My Dinner with Andre · My Neighbor Totoro · Nights of Cabiria · One Flew Over the Cuckoo’s Nest · Orpheus · Paris, Texas · Patton · Picnic at Hanging Rock · Planes, Trains and Automobiles · The Producers · Raiders of the Lost Ark · Raise the Red Lantern · Ran · Rashomon · Rear Window · Rififi · The Right Stuff · Romeo and Juliet · The Rules of the Game · Saturday Night Fever · Say Anything · Scarface · The Searchers · Shane · Snow White and the Seven Dwarfs · Solaris · Strangers on a Train · Stroszek · A Sunday in the Country · Sunrise · A Tale of Winter · The Thin Man · This Is Spinal Tap ·Tokyo Story · Touchez Pas au Grisbi · Touch of Evil · The Treasure of the Sierra Madre · Ugetsu · Umberto D · Unforgiven · Victim · Walkabout · West Side Story · Yankee Doodle Dandy

    Corpse Bride carries on in the dark, romantic tradition of Tim Burton's classic films Edward Scissorhands and The Nightmare Before Christmas, Set in a 19th century European village, this stopmotion, animated feature follows the story of Victor (Johnny Depp), a young man who is whisked away to the underworld and wed to a mysterious Corpse Bride (Helena Bonham-Carter), while his real bride, Victoria (Emily Watson), waits bereft in the land of the living. Though life in the Land of the Dead proves to be a lot more colorful than his strict Victorian upbringing, Victor learns that there is nothing in this world, or the next, that can keep him away from his one true love. It's a tale of optimism, romance and a very lively afterlife, told in a classic Tim Burton style. Like Tim Burton's The Nightmare Before Christmas, this official visual companion showcases spectacular movie stills, sketches, paintings, and Tim Burton's own drawings. Covering preproduction, production, and post-production, sections detail character realization, set development and construction, puppet fabrication, costuming, and stop-motion filming. The book's final part retells the film's story in images with synopsis, storyboards, and lyrics. 140 color illustrations.

    Finally a script format guide that is accurate, complete, authoritative and easy to use, written by Hollywood's foremost authority on industry standard script formats.

    Actors, including Natalie Portman and Samuel L. Jackson, provide commentary on their experiences during filming, while stunning photographs present the costumes in intimate detail.

    Plus over 40 pictures of Harry, Ron, Hermione, Cho Chang, Cedric Diggory, Viktor Krum, Fleur Delacour, and all the other kids from Hogwarts, Durmstrang, and Beauxbatons. It's your must-have movie keepsake.

    Covering hundreds of movies from America, Europe and Asia, this history chronicles the zombie's on-screen evolution from Caribbean bogeyman to flesh-eating corpse.

    The young heir to the Wayne empire disappeared seven years ago. His vast fortune has been given away, and the crime wave that began with the brutal murder of his parents has turned Gotham City into a living hell. The last holdouts against corruption–the cops who can’t be bought, the D.A.s who can’t be intimidated–are outnumbered and outgunned. They need help... fast. A world away, in a dank Himalayan prison, a nameless, hardened man fights every day to survive. He has spent seven years scouring the globe, studying the criminal mind, looking for an answer to the ugly riddle of his childhood. But something has been looking for him, too. Here, in the darkest places of his own anger, Bruce Wayne will discover his destiny–and an ordinary man will become a legend.

    It was a place so unbelievable that no one dared believe in its existence. Except one man, the extraordinary showman Carl Denham. Many will, of course, remember his show on Broadway and its tragic ending. But New York is not where the story ended, it is where it began.In 1935 a joint expedition of several prominent universities and organizations called Project Legacy was launched. Its stated mission goal was to create the first of several field guides to Skull Island, a land filled with creatures existing outside of their time, where dinosaurs roamed, evolved, and still lived. Only a year later it was discovered that the island was doomed; the geological forces that had formed the island were now tearing it apart. There were only seven more abbreviated expeditions to the island before its destruction and the start of World War II.The journals, sketches, and detailed notes of the scientists who braved Skull Island would have continued to gather dust on shelves across the planet were it not for the work of the authors of this book. Here for the first time is their work, collected in a comprehensive edition of the natural history of this lost island. Here is "The World of Kong."

    Leonard Maltin’s Classic Movie Guide includes more than 7,000 capsule reviews of classic movies, including: The Birth of a Nation (1915), Gone With the Wind (1939), The Philadelphia Story (1940), High Noon (1952), and Guess Who’s Coming to Dinner (1967). In addition, this unique volume also offers a star and director index, a full listing of classic movies on DVD, and Leonard Maltin’s unique Top Ten lists. The result is an authoritative, dynamic guide to the classics no film aficionado should be without.

    And that's with no toilet breaks. And all you'd get to eat and drink would be giant buckets of coke and popcorn, and six inches of horrible pink gunk extruded on a bun. And your left hand will keep wandering down to that tacky gobbet of someone else's chewing gum under your seat. You know it will.Even if you saw one a week it would take three months: you'd miss all those trips down the pub and your friends would stop speaking to you and you'd be in danger of turning into Jonathan Ross. And no one wants that.Or perhaps you could watch them at home on DVD and never be able to get up out of your sofa ever again. Even when the pizza arrives.But then Hollywood Blockbusters are a guilty pleasure you'd really not want to be without. Never fear. Help is at hand. Well, in your hand actually. Ten of the biggest movies of the last thirty years. Condensed. Made (intentionally) funny. Made (intentionally) very funny. Simple really.

    In the wake of his parents' murder, disillusioned industrial heir Bruce Wayne travels the world seeking the means to fight injustice and turn fear against those who prey on the fearful. He returns to Gotham City and unveils his alter ego: Batman, a masked crusader who uses his strength, intellect, and an array of high-tech deceptions to fight the sinister forces that threaten the city.As Bruce Wayne/Batman, Christian Bale heads an all-star cast that also includes Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Tom Wilkinson, Rutger Hauer and Morgan Freeman. Visionary director Christopher Nolan has delivered the Batman we've been waiting for - a dark legend brought to life in a way never before imagined on the big screen.This volume contains the complete screenplay of Batman Begins by Christopher Nolan and David S. Goyer, together with storyboards for the picture drawn by Martin Asbury and James Cornish, and an exclusive interview with Christopher Nolan in which he reveals his cinematic vision of The Dark Knight.

    The now-legendary British company went on to make such classics as Dracula (and its many sequels), making international stars out of Peter Cushing and Christopher Lee, changing the face of horror cinema, and inspiring a generation of Hollywood filmmakers, including George Lucas, Martin Scorsese and Tim Burton.Now, for the first time, Hammer have given their active backing to an authorised history of the company, and have provided unlimited access to their archives.The Hammer Story provides a film-by-film dissection, dripping with rare promotional material and previously unpublished photographs.

    Like a bizarro-world Norman Rockwell, he created magazine covers of Frankenstein, the Creature from the Black Lagoon. the Phantom of the Opera, and countless others in horrifying yet dazzling images throughout the 1960s and '70s. His intense colour and bold, impressionistic brushwork gave a unique sense of drama and sophistication to these iconic characters. Today, collectors fight over his original art--but, with this book, every fan can own glowing full-colour reproductions of his most famous work as well as many previously unpublished paintings and drawings.

    Critic Kenneth Tynan once declared, What, when drunk, one sees in other women, one sees in Garbo sober. Though many books have tried to unlock the mystique of the Swedish Sphinx by focusing primarily on her personal life, Greta Garbo: A Cinematic Legacy is the first book to pay serious attention to what made her an icon - her twenty-four Hollywood films. As MGM's highest-paid star, Garbo had approval over story, co-star, director, and cinematographer, wielding power that few others could match - yet she was often at odds with the system that made her such a phenomenon. Lavishly illustrated with luminous portraits, film stills, and behind-the-scenes photographs - many previously unpublished - and drawing extensively on interviews, letters, and studio production files, the book chronicles Garbo's stellar, yet turbulent, career. One hundred years after her birth, Garbo's captivating legend endures.

    Mayer, the chief of Metro-Goldwyn-Mayer -- MGM -- the biggest and most successful film studio of Hollywood's Golden Age. An immigrant from tsarist Russia, Mayer began in the film business as an exhibitor but soon migrated to where the action and the power were -- Hollywood. Through sheer force of energy and foresight, he turned his own modest studio into MGM, where he became the most powerful man in Hollywood, bending the film business to his will. He made great films, including the fabulous MGM musicals, and he made great stars: Garbo, Gable, Garland, and dozens of others. Through the enormously successful Andy Hardy series, Mayer purveyed family values to America. At the same time, he used his influence to place a federal judge on the bench, pay off local officials, cover up his stars' indiscretions, and, on occasion, arrange marriages for gay stars. Mayer rose from his impoverished childhood to become at one time the highest-paid executive in America.Despite his power and money, Mayer suffered some significant losses. He had two daughters: Irene, who married David O. Selznick, and Edie, who married producer William Goetz. He would eventually fall out with Edie and divorce his wife, Margaret, ending his life alienated from most of his family. His chief assistant, Irving Thalberg, was his closest business partner, but they quarreled frequently, and Thalberg's early death left Mayer without his most trusted associate. As Mayer grew older, his politics became increasingly reactionary, and he found himself politically isolated within Hollywood's small conservative community.Lion of Hollywood is a three-dimensional biography of a figure often caricatured and vilified as the paragon of the studio system. Mayer could be arrogant and tyrannical, but under his leadership MGM made such unforgettable films as The Big Parade, Ninotchka, The Wizard of Oz, Meet Me in St. Louis, and An American in Paris.Film historian Scott Eyman interviewed more than 150 people and researched some previously unavailable archives to write this major new biography of a man who defined an industry and an era.

    Spanning sixty years, this deliciously entertaining history uncovers the audacious manner in which many blacks made a place for themselves in an industry that originally had no place for them. Through interviews and the personal recollections of Hollywood luminaries, Bogle pieces together a remarkable history that remains largely obscure to this day. We discover that Black Hollywood was a place distinct from the studio-system-dominated Tinseltown–a world unto itself, with unique rules and social hierarchy. It had its own talent scouts and media, its own watering holes, elegant hotels, and fashionable nightspots, and of course its own glamorous and brilliant personalities. Along with famous actors including Bill “Bojangles” Robinson, Hattie McDaniel (whose home was among Hollywood’s most exquisite), and, later, the stunningly beautiful Lena Horne and the fabulously gifted Sammy Davis, Jr., we meet the likes of heartthrob James Edwards, whose promising career was derailed by whispers of an affair with Lana Turner, and the mysterious Madame Sul-Te-Wan, who shared a close lifelong friendship with pioneering director D. W. Griffith. But Bogle also looks at other members of the black community–from the white stars’ black servants, who had their own money and prestige, to gossip columnists, hairstylists, and architects–and at the world that grew up around them along Central Avenue, the Harlem of the West.In the tradition of Hortense Powdermaker’s classic Hollywood: The Dream Factory and Neal Gabler’s An Empire of Their Own, in Bright Boulevards, Bold Dreams, Donald Bogle re-creates a vanished world that left an indelible mark on Hollywood–and on all of America.From the Hardcover edition.

    Though he died nearly fifty years ago, the enigmatic star of East of Eden (1955), Rebel without a Cause (1955), and Giant (1956) still symbolizes the mystery and torment of adolescence - an image that his sudden, violent death fixed forever in the public mind. Photographer Dennis Stock met Dean in Hollywood in 1953 and, intrigued, began to photograph him. Following him for three months on his return to his birthplace in Indiana, his journey to New York City, and then back to Hollywood, Stock recorded unforgettable and iconic views of the young actor in both his professional and his private worlds.

    His real-life story inspired the Oscar®-nominated writer of In the Name of the Father, Terry George, to make the extraordinary film, Hotel Rwanda, starring Don Cheadle, Sophie Okonedo, Joaquin Phoenix, and Nick Nolte, which has received accolades from critics and moviegoers alike, winning numerous awards.Now, in the only official companion book, comes the fascinating filmmaking story, with first-person pieces by Terry George and co-screenwriter Keir Pearson about their three-year struggle to gain support and financing, as well as a brief history of Rwanda with details on the actual events portrayed in the movie.Illustrated with more than 70 historical and contemporary photos and movie stills, the book also includes journalist Nicola Graydon's report on joining Paul Rusesabagina when he first returned to Rwanda on the tenth anniversary of the genocide; writer Anne Thompson's personal journal of her visit to the set in Africa during production in February 2004; and a compelling transcript of the PBS Frontline documentary revealing the afterthoughts of officials who chose not to listen to the cries for help. In addition there is a timeline of the crisis, a further reading and viewing list, and the complete screenplay.

    John Waters, the writer and director of these movies, is a legendary filmmaker whose films occupy their own niche in cinema history. His muse and leading lady was Divine — a 300-pound transvestite who could eat dog shit in one scene and break your heart in the next. In "Hairspray," a "pleasantly plump" teenager, played by Ricki Lake, and her big-hearted hairdresser mother, played by Divine, teach 1962 Baltimore about race relations by integrating a local TV dance show. "Female Trouble" is a coming-of-age story gone terribly awry: Dawn Davenport (again, Divine), progresses from loving schoolgirl to crazed mass murderer destined for the electric chair — all because her parents wouldn't buy her cha-cha heels for Christmas. In "Multiple Maniacs," dubbed by Waters a "celluloid atrocity," the traveling sideshow "Lady Divine's Cavalcade of Perversions" is actually a front for a group of psychotic kidnappers, with Lady Divine herself the most vicious and depraved of all — but her life changes after she gets raped by a fifteen-foot lobster.

    Now, 28 years later, the 350 most amazing Star Wars movie posters are collected for the first time. This compilation spans the surreal to ultra realistic, the campy to darkly serious: Darth Vader's head exploding in a shower of camera parts; Anakin Skywalker casting an ominous Sith shadow; C-3PO and R2-D2 selling Star Wars shoes; Luke and Vader in mortal battle aboard the Death Star. Classic posters are joined with text by the world's foremost Star Wars collector, Stephen Sansweet, and poster collector Peter Vilmur, behind-the-scenes stories from artists and designers, a scarcity guide to over 2,000 posters, and a bootleg identification guide. Exploding with color, The Star Wars Poster Book illuminates an unexplored corner of Star Wars history. 2005 by Lucasfilm Ltd. & TM. All Rights Reserved.

    In 1944 W. H. Auden called Agee's film reviews for The Nation "the most remarkable regular event in American journalism today." Those columns, along with much of the movie criticism that Agee wrote for Time through most of the 1940s, were collected posthumously in Agee on Film: Reviews and Comments, undoubtedly the most influential writings on film by an American.Whether reviewing a Judy Garland musical or a wartime documentary, assessing the impact of Italian neorealism or railing against the compromises in a Hollywood adaptation of Hemingway, Agee always wrote of movies as a pervasive, profoundly significant part of modern life, a new art whose classics (Chaplin, Dovzhenko, Vigo) he revered and whose betrayal in the interests of commerce or propaganda he often deplored. If his frequent disappointments could be registered in acid tones, his enthusiasms were expressed with passionate eloquence. This Library of America volume supplements the classic pieces from Agee on Film with previously uncollected writings on Ingrid Bergman, the Marx Brothers, Alfred Hitchcock's Lifeboat, Vittorio De Sica's Shoeshine, and a wealth of other cinematic subjects.Agee's own work as a screenwriter is represented by his script for Charles Laughton's unique and haunting masterpiece of Southern gothic, The Night of the Hunter, adapted from the novel by Davis Grubb. This collection also includes examples of Agee's masterfully probing reporting for Fortune — on subjects as diverse as the Tennessee Valley Authority, commercial orchids, and cockfighting — and a sampling of his literary reviews, among them appreciations of William Faulkner, Virginia Woolf, S. J. Perelman, and William Carlos Williams.

    When it became a surprise blockbuster, studios began to trust him with larger budgets and the whims of his expansive imagination. Mixing gothic horror, black comedy, and oddball whimsy, Burton's movies veer from childlike enchantment to morbid melancholy, often with the same frame.His beautifully designed and highly stylized films-including Batman, Edward Scissorhands, Beetlejuice, Big Fish, Sleepy Hollow, and Ed Wood-are idiosyncratic, personal visions that have found commercial success. In Tim Burton: Interviews, the director discusses how animation and art design affect his work, how old horror films have deeply influenced his psyche, why so many of his protagonists are outcasts, and how he's managed to make personal films within the Hollywood system. He gives tribute to writers he's worked with, his favorite actors-including Johnny Depp and Vincent Price-and talks enthusiastically about pulp horror fiction and the works of Edgar Allan Poe.These interviews show his progression from an inarticulate young director to a contemplative and dry-witted artist over the course of twenty years. In later interviews, he opens up about being in therapy and how his childhood fantasies still affect his art. Tim Burton: Interviews reveals a man who has managed to thrive inside Hollywood while maintaining the distinctive quirks of an independent filmmaker.Kristian Fraga, New York City, wrote and directed the award-winning PBS documentary The Inside Reel: Digital Filmmaking. He is a founding partner of Sirk Productions, LLC, a Manhattan-based film and television production company.

    Photographs, behind-the-scenes production stills, early sketches, computer renderings, outtakes, and more from Lucasfilm's archives deconstruct Episodes I, II, and IIIevery vehicle, character, planet, and plot line is examined. Featuring more than 3,000 out-of-this-world color images, an insider's-perspective text, and production specifications, this is a gorgeous tribute to the most successful movie saga of all time. 2005 by Lucasfilm Ltd. & TM. All Rights Reserved.

    Once in Narnia, the real adventure begins as Peter, Susan and Lucy race to save their brother Edmund from the White Witch, the evil Queen. With help from the kind creatures of Narnia, the Pevensies seek out Aslan, the mysterious Great Lion, who is their only hope in the struggle against the White Witch.With this photo-packed retelling of the movie, you too can travel through the wardrobe and visit the magical land of Narnia.

    With an American TV actor named Clint Eastwood and a script based on a samurai epic, Leone wound up creating "A Fistful of Dollars", the first in a trilogy of films (with "For a Few Dollars More" and "The Good, the Bad, and the Ugly") that was violent, cynical, and visually stunning. Along with his later masterpiece, "Once Upon a Time in the West", these films came to define the Spaghetti Western

    60,000 first printing.

    Darius examines the evolution of Batman's origins, as well as previous attempts to film that story. His scene-by-scene analysis, addressing changes from the script, themes, and comics correlations, expands the reader's understanding through crisp, insightful language. Also explores the film's realism in contrast to past Batman films, the film's reception, and its box office.

    Germany is winning on every front. This is the story of how one of the world’s first commando units, put together for the invasion of Norway, helped turn the tide in Italy.1942. When the British generals recommend an audacious plan to parachute a small elite commando unit into Norway in a bid to put Nazi Germany on the defensive, Winston Churchill is intrigued. But Britain, fighting for its life, can’t spare the manpower to participate. So William Lyon MacKenzie King is contacted and asked to commit Canadian troops to the bold plan. King, determined to join Roosevelt and Churchill as an equal leader in the Allied war effort, agrees.One of the world’s first commando units, the First Special Service Force, or FSSF, is assembled from hand-picked soldiers from Canadian and American regiments. Any troops sent into Norway will have to be rugged, self-sufficient, brave, and weather-hardened. Canada has such men in ample supply.The all-volunteer FSSF comprises outdoorsmen — trappers, rangers, prospectors, miners, loggers. Assembled at an isolated base in Helena, Montana, and given only five months to train before the invasion, they are schooled in parachuting, mountain climbing, cross-country skiing, and cold-weather survival. They are taught how to handle explosives, how to operate nearly every field weapon in the American and German arsenals, and how to kill with their bare hands.After the Norway plan is scrapped, the FSSF is dispatched to Italy and given its first test — to seize a key German mountain-top position which had repelled the brunt of the Allied armies for over a month. In a reprise of the audacity and careful planning that won Vimy Ridge for the Canadians in WWI, the FSSF takes the twin peaks Monte la Difensa and Monte la Remetanea by storming the supposedly unscalable rock face at the rear of the German position, and opens the way through the mountains.Later, the FSSF will hold one-quarter of the Anzio beachhead against a vastly superior German force for ninety-nine days; a force of only 1,200 commandos does the work of a full division of over 17,000 troops. Though badly outnumbered, the FSSF takes the fight to the Germans, sending nighttime patrols behind enemy lines and taking prisoners. It is here that they come to be known among the dispirited Germans as Schwartzer Teufel (“Black Devils”) for their black camouflage face-paint and their terrifying tactic of appearing out of the darkness.John Nadler vividly captures the savagery of the Italian campaign, fought as it was at close quarters and with desperate resolve, and the deeply human experiences of the individual men called upon to fight it. Based on extensive archival research and interviews with veterans, A Perfect Hell is an important contribution to Canadian military history and an indispensable account of the lives and battlefield exploits of the men who turned the tide of the Second World War.

    What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.

    This intimate, lovingly produced look at how the various environments in all six Star Wars movies were created contains literally 1,000 full-color behind-the-scenes photographs (some quite candid!) and insightful commentary by Knoll, as well as a bonus CD-ROM with cool QuickTime panoramas of some of the sets included in the three motion picture prequels. From the old-school motion-control photography in 1977's Star Wars: Episode IV -- A New Hope to the revolutionary refinement of digital cinema in 2005's Star Wars: Episode III -- Revenge of the Sith, this book contains it all -- from creating low-altitude shots of the Death Star out of plywood to producing breathtaking digi-matte paintings of the Jedi Council Chamber skyline and aerial views of Coruscant and Naboo. Jaw-dropping surprises abound as well, including deleted scenes, a look into LucasFilm's archive buildings, and a rarely seen Darth Vader custom design concept from 1976. Chronicling the almost three decades between George Lucas's founding of Industrial Light and Magic in 1976 and the release of Star Wars: Episode III in 2005, Knoll's shelf-bending brick of a book (744 pages) is the equivalent of sitting down with an old friend and looking through a gigantic photo album containing stunning pictures of his travels abroad -- except in this case, the journey happened to be to a galaxy far, far away. Simply put, Creating the Worlds of Star Wars: 365 Days is one of the most enlightening and entertaining books Star Wars fans will ever come across. Prepare to be blown away. Paul Goat Allen

    He is one of the most amazing, popular, and iconic characters in the history of motion pictures. His 1933 debut was a legendary piece of pure cinema simultaneously a terrifying monster movie, epic fairy tale, tragic love story, and deeply resonant cultural myth. His name is King Kong. Ray Morton's King Kong The History of a Movie Icon is the first book to chronicle the making of all seven feature films in which the character of Kong has appeared, including the hotly anticipated Peter Jackson version. It is generously illustrated with photographs, production art, and promotional materials from the author's extensive private collection. Morton has interviewed the surviving members of each major film. A colorful overview of the tremendous amount of collectible Kong merchandise is also on view for all the fans of Kongdom to devour.

    By the end of the following year, moviegoers couldn't get enough of him and his iconic persona, the Little Tramp. Perpetually outfitted with baggy pants, a limp cane, and a dusty bowler hat, the character became so beloved that Chaplin was mobbed by fans, journalists, and critics at every turn. Although he never particularly liked giving interviews, he accepted the demands of his stardom, giving detailed responses about his methods of making movies. He quickly progressed from making two-reel shorts to feature-length masterpieces such as The Gold Rush, City Lights, and Modern Times. Charlie Chaplin: Interviews offers a complex portrait of perhaps the world's greatest cinematic comedian and a man who is considered to be one of the most influential screen artists in movie history. The interviews he granted, performances in and of themselves, are often as well crafted as his films. Unlike the Little Tramp, Chaplin the interviewee comes across as melancholy and serious, as the titles of some early interviews-"Beneath the Mask: Witty, Wistful, Serious Is the Real Charlie" or "The Hamlet-Like Nature of Charlie Chaplin"-make abundantly clear. His first sound feature, The Great Dictator, is a direct condemnation of Hitler. His later films such as Monsieur Verdoux and Limelight obliquely criticize American policy and consequently generated mixed reactions from critics and little response from moviegoers. During this late period of his filmmaking, Chaplin granted interviews less often. The three later interviews included here are thus extremely valuable, offering long, contemplative analyses of the man's life and work.

    "Zulu" tells the epic story of the Battle of Rorke's Drift of 1879, in which barely 150 soldiers of the British Army in South Africa fought for twelve hours to hold an isolated mission station against sustained assault from 4,000 highly disciplined Zulu warriors. Zulu enjoyed blockbusting box-office success and now holds near-legendary status in the British popular imagination. Written in a lively and accessible style and lavishly illustrated throughout, this is the definitive account of the filming of one of the great movie epics, Covered in fascinating detail are such topics as: - How hundreds of Zulu tribesmen, many of whom had never before seen a film, were taught to perform for the camera- Filming under apartheid: with vivid reminiscences of working in the midst of an oppressive political regime- Behind the cameras with actors Stanley Baker, Michael Caine, jack Hawkins, James Booth, Nigel Green and Ivor Emmanuel.- How the battle was re-enacted against the spectacular backdrop of Natal's Drakensberg mountain range.

    Bernard (Jeff Daniels), a once successful novelist, and hiswife Joan (Laura Linney), an up-and-coming writer, have given upon their marriage.Their two sons Walt (Jesse Eisenberg), 16, andFrank (Owen Kline), 12, are left to grapple with their confusingand conflicted feelings.The experience is a tender, funny, and ultimatelymoving coming-of-age for Walt and a tortuously prematureone for Frank.The emotional tensions and strains that emergeduring this difficult period for the Berkmans are given a remarkablysubtle and nuanced portrayal.

    Over the last thirty years, he's created many of Hollywood's most memorable posters. His art touched generations of filmgoers with unforgettable images for The Star Wars Trilogy, Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, The Phantom Menace, Bladerunner, First Blood, The Thing, Back to the Future I - III, Harry Potter and the Sorcerers Stone, and hundreds more. Finally, these posters, in addition to paintings from Drew's private collection, several limited edition works, book and album covers and more have been collected into one stunning full color volume, Drew Struzan: Oeuvre. Authors Jessie and Amy Horsting examine the unique forces shaping Struzan's career, his rise as an illustrator, and the perseverance required to succeed and thrive in a notoriously fickle industry. Featuring a foreword by George Lucas, the book also focuses on the history of some ground-breaking posters, relates a few celebrity encounters, and offers commentary from Harrison Ford, Frank Darabont, Alice Cooper, Robert Zemekis, Jim Henson, and many others who have had close encounters with this giant talent.

    In this authorized, behind-the-scenes look at the movie, Fr. John Bartunek, L.C., provides biblical, historical, and theological insights gleaned from hours spent on the set and interviews with the director, actors, and filmmaking crew. Inside The Passion is the most complete and thorough commentary on the movie you will read.

    But here is the original 1913 novelette in all its warm humanity and humor. Three bank robbers on the run in the frontier American West happen upon a birthing mother who begs the men to watch over her baby as the delivery takes her life just as another is brought into the world. Naturally, they do, and find that their new charge brings them a new outlook on their wicked ways. American novelist PETER B. KYNE (1880-1957) was born in San Francisco, California. From early on it was clear that he had a gift for writing, and his time in the army during the Spanish-American War and World War I gave him plenty to write about. Kyne's novels include The Go-Getter (1921) and Cappy Ricks (1916).

    A few of the resulting films have become cult classics, but most were simply tacky - few would probably now want to sit through two hours of "High School Hellcats" (1958) or "Hot Rod Rumble" (1957). The posters produced to promote them, on the other hand, are wonderful period pieces that vividly evoke the social fears, temptations and taboos of bygone eras. Up until the introduction of the Hayes Code in 1934 Hollywood had few inhibitions; the poster for "Girl Without A Room" (1933), for example, left audiences in little doubt as to how the young lady planned to find accommodation. Later in the decade, it became necessary to adopt the old tabloid trick of pretending that titillating content had a redeeming social message - thus the producers of "Marihuana" (1936) were obliged to present it as a warning about the dangers of drug addiction. In the 1950s, it was the Beats and juvenile delinquents who put a chill into middle-class hearts - and, of course, attracted middle-class kids to the drive-in screens. Then, in the 60s and 70s, came 'Blaxploitation' movies like "Shaft", Russ Meyer's mammary-obsessed epics like "Faster Pussycat, Kill, Kill", and even an animated sexploitation story, "Fritz The Cat". The posters for these films, from Alberto Vargas' artwork for "Ladies They Talk About" (1933) to Alan Aldridge's photomontage for Warhol's "Chelsea Girls" (1966), are masterpieces of visual innuendo, offering, in most cases, far more that the movies actually delivered.

    It is the first book to describe and analyze the complete development, operation, and reinvention of the global corporate entities that produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, helped to fashion Hollywood into a vertically integrated system, a set of economic innovations that was firmly in place by 1930. For the next three decades, the movie industry operated according to these principles. Cultural, social, and economic changes ensured the demise of this system after WWII. Beginning in 1962, Lew Wasserman of Universal Studios emerged as the key innovator in creating a second studio system. Gomery relates the history of these two systems using primary materials from a score of archives across the United States as well as a close reading of both the business and trade press of the time. A number of previously unpublished photos illuminate the narrative.

    Gathered here are three of Wright's early plays, including Interrogating the Nude, a tongue-in-cheek reimagining of the uproar surrounding the debut of Marcel Duchamp's work in America; Watbanaland, a satiric dissection of yuppie desire and a haunting look at family and faith; and the Obie Award-winning Quills, which explores the boundaries of artistic expression and the dangers of censorship as they played out in the Marquis de Sade's final days at Charenton Asylum.

    Scott Nollen worked extensively with Sara Jane Karloff on this impressive life history of one of the legends of Hollywood's Golden Age of Horror. "Being able to know and work with Sara Jane Karloff on this project has been a highlight of my career. Hopefully this book is the most thorough, accurate and entertaining chronicle of her father’s fascinating life. Perhaps a few Karloff mysteries have been solved."—Scott Allen Nollen

    "But in those days, an unlimited amount of money wouldn't have gotten us much better special effects, because they didn't exist. We had to go with the stories and try to make them as believable as possible, and flash the outlandish things by quickly, so the audience never got a good, in-focus look at them!" Perhaps no films attracted more rabid fans and less critical acclaim than the genre movies of that era. The men and women who made the characters come to life are interviewed here, talking about their work, the behind-the-scenes action, and the impact the movies had on their careers. The interviewees are Gene Barry, Gary Clarke, Gary Conway, Merian C. Cooper, Robert Dix, Donnie Dunagan, Alex Gordon, Peter Graves, Gary Gray, Arch Hall, Jr., Stephen Kandel, Carolyn Kearney, Ken Kolb, Robert L. Lippert, Jr., Jan Merlin, Mary Mitchel, Elliott Reid, Stanley Rubin, Frankie Thomas and Burt Topper. Extensively illustrated.

    Faced with the prospects of a career-defining role and mentorship by a cinematic great, the 24-year-old Hollywood actor arrived in London armed with a large-format Roliflex camera-inspired by Kubrick's early career as a "Look "photographer-and a notebook to record his own on-set reportage; preparation for his starring role as a Marine Corps journalist. But expectations eroded as a strange, creeping sickness pervaded the set, a horrific accident sidelined a principal, and an unexpected rivalry arose with a co-star. And as the months dragged on, take-by-take, Modine realized he was falling victim to a manipulative mind-game of the Grand Master himself. By the time his tour of duty ended a year and a half later, Modine had shot hundreds of photos and written countless entries. Only now-after two decades and the death of Kubrick-can Modine look back on his images and words. The result-a coming-of-age drama set against the backdrop of a seminal Vietnam saga. A book like no other, Stanley Kubrick would have been the first in line to buy "Full Metal Jacket Diary."

    His portrayal of the child murderer in Fritz Lang's masterpiece M (1931) catapulted him to international fame. Lang said of Lorre: "He gave one of the best performances in film history and certainly the best in his life." Today, the Hungarian-born actor is also recognized fo

    Cooper–the adventurer who created King Kong–was truly larger than life. “Pictures cannot be made from an executive’s desk,” “Coop” declared, and he did more than talk the talk–he walked the walk to the far corners of the globe, with a motion picture camera in tow, in an era when those corners were truly unknown, untamed, and unforgiving.Cooper’s place in history is assured, thanks not only to the monstrous gorilla from Skull Island but because the story of Kong’s creator is even bigger and bolder than the beast he made into a cultural icon. Spellbound since boyhood by tales of life-threatening adventure and exotic locales, Cooper plunged again and again into harrowing expeditions that took him to places not yet civilized by modern man.Cooper was one of the first bomber pilots in World War I. After the war, he helped form the famous Kosciuszko Squadron in battle-torn Poland. He then turned his attention to producing documentary films that chronicled his hair-raising encounters with savage warriors, man-eating tigers, nomadic tribes, and elephant stampedes. In addition to producing King Kong, he was the first to team Fred Astaire with Ginger Rogers, arranged Katharine Hepburn’s screen test, collaborated with John Ford on Hollywood’s greatest Westerns, and then changed the face of film forever with Cinerama, the original “virtual reality.” He returned to military service during World War II, serving with General Claire Chennault in China, flying missions into the heart of enemy territory.This book is a stunning tribute to a two-fisted visionary who packed a multitude of lifetimes into eighty remarkable years. The first comprehensive biography of this unique man and his amazing time, it’s the tale of someone whose greatest desire was always to be living dangerously.

    the Halloween and Nightmare on Elm Street houses... the Seinfeld and Alias apartment buildings... the Six Feet Under funeral home...The Brady Bunch and Happy Days houses...the Charlie's Angels office...the real Melrose Place...and many moreVIP tours: from legendary studios like Warner Bros., MGM (now Sony Pictures), and Universal to movie-star homes like Barbra Streisand's former Malibu compound…Crime scenes and scandal spots: the driveway where Sal Mineo was murdered, the Nicole Brown Simpson condo, the Sharon Tate estate, Marilyn Monroe's last address, the Beverly Hills Mansion where Bugsy Siegal was rubbed out…the Hollywood hotel where Janice Joplin O.D.’d…Plus: Remarkable new museums...Superstar cemeteries...Historic hotels...Hip clubs and restaurants....Fabulous restored movie palaces… Spectacular movie star mansions and château apartments…Taking movie lovers behind the gates of the exclusive, often hidden world of Tinsel Town, Hollywood: The Movie Lover's Guide is the ultimate insider's guide to L.A.'s reel attractions.

    With the world at war, directors served up propaganda and escapist entertainment to the massed moviegoers of the pre-television age. Yet in many countries, there was also a parallel tendency towards greater realism. In Italy, for example, the spirit of the resistance culminated in the neorealist movement, which inspired the world's moviemakers with masterpieces such as De Sica's Bicycle Thieves (1948). In Hollywood, the 40s were probably the most creative phase in the studios? history. Never before had the Dream Factory brought such compellingly edgy and experimental films to the silver screen. The most seminal work of the decade was Citizen Kane (1941); Orson Welles's extravagantly original debut anticipated the expressive visual style that would come to typify film noir?the genre of ?dark movies, ? populated by romantic antiheroes and femmes fatales, that still represents the essence of cinema for many passionate movie buffs. In the atmospheric black-and-white universe of noir, Rita Hayworth, Ava Gardner, and Lauren Bacall became timeless erotic icons, while Bogart?following The Big Sleep (1945)?was the very quintessence of cool. While these movies bore witness to the cracks in America's fa?ade, another genre was busily reconstituting the nation's identity. In the films of John Ford, the Western came back with a vengeance, Monument Valley embodied America's incomparable grandeur, and John Wayne (The Duke) was a natural aristocrat of the wild frontier.

    . . Marilla and Matthew Cuthbert planned to adopt a boy to help out around the farm, but waiting at the train station is a freckle-faced, red-headed eleven-year-old orphan named Anne Shirley. From the minute Anne sets foot in Matthew's buggy, Green Gables will never be the same Anne is overflowing with spunk and dreams, but at heart what she wants most of all is a place to call home.

    Sex on the silver screen unfolds in such a perfect way and we get sucked in. Whether we want to admit it or not, much of our sexual behavior has been learned from the movies. From Joe Bob Briggs comes Profoundly Erotic, a collection of essays on sex in film. This guide explores the most seminal films―from cult classics to Hollywood blockbusters―that both shaped and reflected America's changing mores and codes about sex. Briggs, who has been called the Leonard Maltin of cult movies, makes good on his reputation as an off-kilter and daring movie guru in this revealing look at filmed fornication. Profoundly Erotic follows Joe Bob's popular Profoundly Disturbing. Now Joe Bob takes on the key films that turn us on, such as It Happened One Night (1938), Lolita (1962), Belle de Jour (1967), and sex, lies, and videotape (1989). Illustrated with lurid stills and posters, the book strips down the hottest screen moments in history with the bodies we adore, from Rudolf Valentino and Mae West to Brigitte Bardot and Sharon Stone. In addition to the ten main movies, the book features a hundred more capsule reviews in "For Further Frisson" sidebars. Praise for Profoundly Disturbing: "A valuable and entertaining survey of movies that broke taboos." ―Leonard Maltin"The book merits attention from fans tired of high-minded essays about classics such as Citizen Kane, and explains why crass, tasteless pictures often make more impact than those released with the stamp of respectability." ―Publishers Weekly

    With exclusive concept art, character models, set designs, stills and more, plus interviews with all the leading talent and an introduction by Nick Park, this is the indispensable guide to this must-see movie.

    Its unrivalled coverage of international cinema, Hollywood and Bollywood, blockbusters, forgotten marvels, silent films, documentary and esoterica includes extensive cast and crew listings. Its reach extends into home entertainment, with six pages of reviews of notable international DVD releases from the previous twelve months.

    Packed with behind-the-scenes details, pressbook tidbits, and full-color photos, it has all the hot, steamy fun of an old-fashioned movie without the horn-honking and mosquitoes! Motorcycles and movies are the perfect combination of wild, wicked pleasures.

    And you don't work on a living thing, you work with it. This is the way of the screenwriter, and it is something that writer and director Amnon Buchbinder believes all masterful screenwriters understand intuitively: learning how to work with story through a painstaking process of trial, error, and self exploration.Amnon Buchbinder draws on his knowledge as a teacher and his experience as a script doctor and a story editor to explore this creative process. Along the way he illustrates principles often inspired by the philosophy of Laozi (Lao Tze) with examples drawn from major motion pictures such as Memento and The Piano.For the beginning or seasoned screenwriter who aspires to more than mere competence, Buchbinder illuminates a path towards mastery of the craft. For the lover of the cinematic experience, he opens a curtain to reveal a rarely seen world behind the big screen.

    It is an indispensable addition to the movie fan's collection.

    "Silent Film Sound" reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema.Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies--from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years.But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music-publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema storytelling. For the first time, "Silent Film Sound" details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.

    Unfortunately, the private lives of actors such as John Wayne, Henry Fonda, and Errol Flynn rarely lived up to the idealistic roles they portrayed. However, James Stewart was known as the underdog fighter in many of his films and in real life. He was highly decorated for his bravery during his time as a bomber pilot during World War II and was adored for his earnest and kindly persona.Here many unknown sides of Stewart are revealed: his explosive temper, his complex love affairs, his service as a secret agent for the FBI, his innate shyness, and his passionate patriotism. Munn’s personal touch shines through his writing, as he was a friend of Stewart and his wife, Gloria, and interviewed them as well as their colleagues and friends. This definitive biography reveals the childhood ups and downs that formed this cinema hero, explores the legendary Fonda–Stewart relationship, and recounts Stewart’s experiences making acclaimed films that include The Philadelphia Story, Rear Window, Anatomy of a Murder, It’s a Wonderful Life, and Mr. Smith Goes to Washington.

    Hallmarks of her style are the appropriation and reassembly of found footage and fragments from disparate visual sources, ranging from industrial films and documentaries to home movies, vacation photography, and snippets of old B movies.The resulting collages and montages are cinematic narratives that have been consistently praised for their beauty and sense of wonder and delight in the purely visual. At the same time, Child's films are noted for their incisive political commentary on issues such as gender and sexuality, class, voyeurism, poverty, and the subversive nature of propaganda.In the essays of This Is Called Moving, Child draws on her long career as a practicing poet as well as a filmmaker to explore how these two language systems inform and cross-fertilize her work. For Child, poetry and film are both potent means of representation, and by examining the parallels between them—words and frames, lines and shots, stanzas and scenes—she discovers how the two art forms re-construct and re-present social meaning, both private and collective.

    The book, a labor of love for co-authors Allan T. Duffin and Paul Matheis, is a detailed, comprehensive look at a media phenomenon. Army Air Force officers Beirne Lay, Jr., and Sy Bartlett wrote the novel 12 O'Clock High as a somewhat fictionalized record of their experiences in England during World War II. Twentieth Century-Fox optioned the book and produced the 1949 movie version starring Gregory Peck as tough-as-nails Brigadier General Frank Savage. In 1964, prolific producer Quinn Martin (The Untouchables, The FBI) brought 12 O'Clock High to television as a weekly series on ABC, starring Robert Lansing as Savage. Packed with fresh interviews, rare photographs, and behind-the-scenes stories published for the first time anywhere, The "12 O'Clock High" Logbook is the definitive history of this unique tale of heroism in World War II.

    For the first time, Live Fast, Die Young tells the complete story of the explosive making of Rebel, a film that has rocked every generation since its release. Set against a backdrop of the Atomic Age and an old Hollywood studio system on the verge of collapse, it vividly evokes the cataclysmic, immensely influential meeting of four of Hollywood's most passionate artists. When James Dean, Natalie Wood, Sal Mineo, and director Nicholas Ray converged, each was at a crucial point in his or her career. The young actors were grappling with fame, their burgeoning sexuality, and increasingly reckless behavior. As Ray engaged his cast in physical melees and psychosexual seductions of startling intensity, the on- and off-set relationships between his ambitious young actors ignited, sending a shock wave through the film. Through interviews with the surviving members of the cast and crew and firsthand access to both personal and studio archives, Lawrence Frascella and Al Weisel reveal Rebel's true drama -- the director's affair with sixteen-year-old Wood, his tempestuous "spiritual marriage" with Dean, and his role in awakening the latent homosexuality of Mineo, who would become the first gay teenager to appear on film. Complete with thirty photographs, including ten never-before-seen photos by famed Dean photographer Dennis Stock, Live Fast, Die Young tells the absorbing inside story of an unforgettable and absolutely essential American film -- a story that is, in many ways, as provocative as the film itself.

    With this stable of stars, the Roach enterprise operated for forty-six years on the fringes of the Hollywood studio system during a golden age of cinema and gained notoriety as a producer of short comedies, independent features, and weekly television series. Many of its productions are better remembered today than those by its larger contemporaries. In A History of the Hal Roach Studios, Richard Lewis Ward meticulously follows the timeline of the company’s existence from its humble inception in 1914 to its close in 1960 and, through both its obscure and famous productions, traces its resilience to larger trends in the entertainment business.In the first few decades of the twentieth century, the motion picture industry was controlled by an elite handful of powerful firms that allowed very little room for new competition outside of their established cartel. The few independents that garnered some measure of success despite their outsider status usually did so by specializing in underserved or ignored niche markets. Here, Ward chronicles how the Roach Studios, at the mercy of exclusive distribution practices, managed to repeatedly redefine itself in order to survive for nearly a half-century in a cutthroat environment.Hal Roach’s tactic was to nurture talent rather than exhaust it, and his star players spent the prime of their careers shooting productions on his lot. Even during periods of decline or misdirection, the Roach Studios turned out genuinely original material, such as the screwball classic Topper (1937), the brutally frank Of Mice and Men (1940), and the silent experiment One Million B.C. (1940). Ward’s exploration yields insight into the production and marketing strategies of an organization on the periphery of the theatrical film industry and calls attention to the interconnected nature of the studio system during the classic era. The volume also looks to the early days of television when the prolific Roach Studios embraced the new medium to become, for a time, the premier telefilm producer.Aided by a comprehensive filmography and twenty-seven illustrations, A History of the Hal Roach Studios recounts an overlooked chapter in American cinema, not only detailing the business operations of Roach’s productions but also exposing the intricate workings of Hollywood’s rivalrous moviemaking establishment.

    Drawn from the fascinating online encyclopedia of queer arts and culture, www.glbtq.com — which the Advocate dubbed “the Encyclopedia Brittaniqueer” — this may be the only reference book in which RuPaul and Jean Cocteau jostle for space. From the porn industry to the Sisters of Perpetual Indulgence, from bodybuilding to Dorothy Arzner, it’s a queer, queer world, and The Queer Encyclopedia is the indispensable guide: readable, authoritative, and concise. And perfect to read by candelabra. (The answers to the two questions above: from the dry cleaning fumes, Lily Tomlin.)

    Despite his many achievements as a child of the Italian Cinecitta studios, however, Sergio Leone has been judged severely by writers who find his films lacking in ideas and moralists who find his films unduly cynical. Nevertheless, Leone's greatest cinematic achievement, Once Upon a Time in the West, served to refute these criticisms while exposing the director's unique romanticism and artistic ambition. As Leone's fourth successful American western film, Once Upon a Time in the West earned him acclaim for liberating the western genre, restoring it to a place of antique American simplicity. The principal goal of this book is to sharpen an appreciation for Sergio Leone and his most famous American western. The first two chapters deal with the relationship between Once Upon a Time in the West and the western films that preceded it, particularly those of John Ford. Subsequent chapters concentrate on the central characters ofOnce Upon a Time in the West, with special attention to Jill, Leone's first female protagonist and a surprisingly successful character, central to the plot and accorded a kind of existential strength usually reserved for men in Westerns. The sixth, seventh and eighth chapters address Leone's visual style, which represents a unique fusion of Hollywood classicism and modernism, and reveals the influences of Italian Surrealism and the French New Wave. The final chapters explore the rhythm, romanticism, and musical character of Once Upon a Time in the West, espousing the theory that Leone's approach to film is, above all, musical.

    An original Keystone Kop for Mack Sennett, he went on to support such film luminaries as Charlie Chaplin, Laurel & Hardy, the Marx Bros. John Wayne, Lucille Ball and Doris Day. Billed as "The Average Man," Edgar starred in his own short comedy series at RKO for 17 years.Bill Cassara was born and raised in San Jose, California where his love for the movies began while attending weekly programs at the Garden Theatre, a neighborhood cinema. A graduate of San Jose State University, Cassara dedicated himself to a career in law enforcement. This 25-year veteran of the Monterey County Sheriffs Office currently holds the rank of Sergeant and is assigned to patrol on the Monterey peninsula. In 1984, Cassara founded "The Midnight Patrol" chapter for the Sons of the Desert, the Laurel and Hardy appreciation society. He has also been a board member for the Monterey County Arts Habitat and the Monterey County Film Commission. Cassara chaired film events featuring appearances by Doris Day and Clint Eastwood. Cassara also hosted the Edgar Kennedy Celebration in Monterey in 1997.

    And during Weimar Germany's advance to technological modernity, light - particularly the representational possibilities of electrical light - became the link between the cinema screen and the rapid changes that were transforming German life.In Frances Guerin's compelling history of German silent cinema of the 1920s, the innovative use of light is the pivot around which a new conception of a national cinema, and a national culture emerges. Guerin depicts a nocturnal Germany suffused with light - electric billboards, storefronts, police searchlights - and shows how this element of the mise-en-scene came to reflect both the opportunities and the anxieties surrounding modernity and democracy. Guerin's interpretations center on use of light in films such as Schatten (1923), Variete (1925), Metropolis (1926), and Der Golem (1920). In these films we see how light is the substance of image composition, the structuring device of the narrative, and the central thematic concern. This history relieves German films of the responsibility to explain the political and ideological instability of the period, an instability said to be the uncertain foundation of Nazism. In unlocking this dubious link, A Culture of Light redefines the field of German film scholarship.

    In the more than forty years since, over 5,400 made-for-television films and miniseries have been produced. Television historian Alvin H. Marill has compiled a comprehensive listing of every one of these films, which have been assembled in this publication. But this is no mere list. The exhaustive entries cite each film's original network, airdate, and length of broadcast. Along with a brief summary, each entry also includes extensive production credits (director, writer, producer, composer, director of photography, and editor) and a complete cast (and character) listing. The first four volumes are arranged by decade(s): Volume 1: 1964-1979 Volume 2: 1980-1989 Volume 3: 1990-1999 Volume 4: 2000-2004 Entries are arranged alphabetically for quick access, and each volume also contains a chronology of films produced in that period. Volume 5, the index, includes a list of each actor and director, as well as source material (books and plays). From television pilots like Prescription: Murder (1967), the film that introduced Peter Falk's Columbo, to epic miniseries such as Angels in America (2003), every film has been acknowledged, every actor identified, and every character named. This remains a unique undertaking; there simply is no other compendium like it. Movies Made for Television, 1964-2004 will be a valuable resource for scholars and historians of television and popular culture, as well as anyone interested in the medium.