The Matrix. Office Space. Election. The Blair Witch Project. The Sixth Sense. Being John Malkovich. Star Wars: The Phantom Menace. American Beauty. The Virgin Suicides. Boys Don’t Cry. The Best Man. Three Kings. Magnolia. Those are just some of the landmark titles released in a dizzying movie year, one in which a group of daring filmmakers and performers pushed cinema to new limits—and took audiences along for the ride. Freed from the restraints of budget, technology (or even taste), they produced a slew of classics that took on every topic imaginable, from sex to violence to the end of the world. The result was a highly unruly, deeply influential set of films that would not only change filmmaking, but also give us our first glimpse of the coming twenty-first century. It was a watershed moment that also produced The Sopranos; Apple’s Airport; Wi-Fi; and Netflix’s unlimited DVD rentals. Best. Movie. Year. Ever. is the story of not just how these movies were made, but how they re-made our own vision of the world. It features more than 130 new and exclusive interviews with such directors and actors as Reese Witherspoon, Edward Norton, Steven Soderbergh, Sofia Coppola, David Fincher, Nia Long, Matthew Broderick, Taye Diggs, M. Night Shyamalan, David O. Russell, James Van Der Beek, Kirsten Dunst, the Blair Witch kids, the Office Space dudes, the guy who played Jar-Jar Binks, and dozens more. It’s the definitive account of a culture-conquering movie year none of us saw coming…and that we may never see again.

    Its focus is on formalism - how the forms of the film create meaning. It is updated with recent films and personalities for students.

    Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999.Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Hoberman's masterful and majestic exploration of the Reagan years as seen through the unforgettable movies of the era The third book in a brilliant and ambitious trilogy, celebrated cultural and film critic J.Hoberman's Make My Day is a major new work of film and pop culture history. In it he chronicles the Reagan years, from the waning days of the Watergate scandal when disaster films like Earthquake ruled the box office to the nostalgia of feel-good movies like Rocky and Star Wars, and the delirium of the 1984 presidential campaign and beyond.Bookended by the Bicentennial celebrations and the Iran-Contra affair, the period of Reagan's ascendance brought such movie events as Jaws, Apocalypse Now, Blade Runner, Ghostbusters, Blue Velvet, and Back to the Future, as well as the birth of MTV, the Strategic Defense Initiative, and the Second Cold War.An exploration of the synergy between American politics and popular culture, Make My Day is the concluding volume of Hoberman's Found Illusions trilogy, of which the first volume, The Dream Life, was described by Slate's David Edelstein as "one of the most vital cultural histories I've ever read." Reagan, a supporting player in Hoberman's previous volumes, here takes center stage as the peer of Indiana Jones and John Rambo, the embodiment of a Hollywood that, even then, no longer existed.

    Now in full color for easier referencing, this New Edition continues the tradition, incorporating a wealth of exciting updates and changes-ensuring you have access to today's authoritative knowledge to best diagnose and treat every pediatric patient you see. Whether you're treating patients in the office or in the hospital, or preparing for the boards, Nelson Textbook of Pediatrics, 18th Edition is your comprehensive guide to providing the best possible care.Get an enhanced focus on general pediatrics with editorial contributions from new editor Dr. Bonita F. Stanton.Treat your inpatient and ambulatory patients more effectively with the absolute latest on new topics such as quality improvement and patient care safety . school violence and bullying . preventive measures . vitamin deficiencies . adolescent rape . effect of war on children . and more.Improve your therapeutic skills with the newest knowledge on the principles of antibiotic therapy . antiviral therapy . antiparasitic therapy . antimycobacterial therapy . and others.Understand the principles of therapy and which drugs and dosages to prescribe for every disease.Locate key content more easily and identify clinical conditions quicker thanks to a new full-color design and full-color photographs.Get an enhanced focus on general pediatrics with editorial contributions from new editor Dr. Bonita F. Stanton.Treat your inpatient and ambulatory patients more effectively with the absolute latest on new topics such as quality improvement and patient care safety *school violence and bullying * preventive measures * vitamin deficiencies * adolescent rape * effect of war on children * and more.Improve your therapeutic skills with the newest knowledge on the principles of antibiotic therapy * antiviral therapy * antiparasitic therapy * antimycobacterial therapy * and others.Understand the principles of therapy and which drugs and dosages to prescribe for every disease.Locate key content more easily and identify clinical conditions quicker thanks to a new full-color design and full-color photographs.

    1953) has presented moviegoers with his uniquely personal vision, from his first feature film, Permanent Vacation (1980), to his latest, Ghost Dog: The Way of the Samurai (1999). As the interviews in this volume reveal, Jarmusch has always been interested in mixing very different cultural ingredients to form something uncategorizably new in films that transcend the boundaries between high and low cultures. Jarmusch half-mockingly described his movie Stranger Than Paradise (1984), the film that first brought him substantial notice, as "a semi-neorealist black comedy in the style of an imaginary Eastern European film director obsessed with Ozu, and familiar with the 1950s American television show The Honeymooners."His unique approach to movie making jump-started the low-budget American independent film movement with Stranger Than Paradise, which won the Camera d'Or for best first feature at the Cannes Film Festival.Ranging from 1981 to 2000 this collection chronicles the career and sensibility of a thoroughly independent filmmaker. It features one previously unpublished interview, two that have never appeared in English, and another two which are presented in their entirety rather than in the abridged forms in which they were published.Jarmusch discusses the actors with whom he has worked (Johnny Depp, Forest Whitaker, and Roberto Benigni among them), the progression of his camera and editing techniques, his fascination with the co-existence of disparate and often opposing cultures, and his cult status as an independent movie director. He comes across as kind, modest, and attentive, with a warm sense of humor and an ever-glowing affection for and dedication to his art, and for all the small and marginalized aspects of the world.Ludvig Hertzberg is a freelance film critic and a doctoral candidate in cinema studies at Stockholm University, Sweden.

    This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates film to dance and poetry, and in "A Moving Picture Giving and Taking Book" provides a manual for the novice filmmaker. Lectures, interviews, essays, and manifestos document Brakhage's personal vision and public persona.

    This vastly inhospitable location, called the playa, is the site of Burning Man, where, within a 9-mile fence, artists called Burners create a temporary city devoted to art and participation. Braving extreme elements, over two hundred wildly ambitious works of art are created and intended to delight, provoke, involve, or amaze. In 2013, over 68,000 people attended – the highest number ever allowed on the playa. As Burning Man has created new context, new categories of art have emerged since its inception, including Art to Ride, Collaborative Art, Art for Social Change, and of course, Art to Burn.The Art of Burning Man is an authorized collection of the best of Burning Man art from 1986 through today. Experience the amazing sculptures, art, stories, and interviews from the world’s greatest gathering of artists. Get lost in a rich gallery of images showcasing the best examples of playa art with over 200 photos. Interviews with the artists reveal not only their motivation to create art specifically for Burning Man, but they also illuminate the dramatic efforts it took to create their pieces. Featuring the incredible photography of long-time Burning Man photographers, Sidney Erthal and Scott London, an introduction from Burning Man founder Larry Harvey, and a preface from artist Leo Villareal, this stunning gift book allows Burners and enthusiasts alike to have a piece of Burning Man with them all year around.

    Included is a profile of Arthur Penn's career followed by a new comparative study of Oliver Stone, who mirrors Penn's practice of drawing his films out of historical and ideological currents. Placing the films of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological perspective, Kolker both illuminates their relationship to one another and to larger currents in our culture, and emphasizes the statements their films make about American society and culture. This edition includes a new preface, a requiem for Stanley Kubrick, updated filmography, and 48 images from various films discussed through the text.

    Adaptation, Hutcheon argues, has always been a central mode of the story-telling imagination and deserves to be studied in all its breadth and range as both a process (of creation and reception) and a product unto its own.Persuasive and illuminating, A Theory of Adaptation is a bold rethinking of how adaptation works across all media and genres that may put an end to the age-old question of whether the book was better than the movie, or the opera, or the theme park.

    The critics initially disliked it, but the public loved it. And eventually, the film took its rightful place as one of the most innovative, brilliant, and pivotal works of modern cinema. The Making of 2001: A Space Odyssey consists of testimony from Kubrick's collaborators and commentary from critics and historians. This is the most complete book on the film to date--from Stanley Kubrick's first meeting with screenwriter Arthur C. Clarke to Kubrick's exhaustive research to the actual shooting and release of the movie.From the Trade Paperback edition.

    The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

    The legendary Jay Ward and Bill Scott produced the gleeful wonder and cumulative joy that transcended the crude drawings and occasionally muddy sound. Jay Ward was the magnificent visionary, the outrageous showman, while Bill Scott was the genial, brilliant head writer, coproducer, and all-purpose creative whirlwind. With exclusive interviews, original scripts, artwork, story notes, letters and memos, Keith Scott has written the definitive history of Jay Ward Productions.The Moose That Roared tells the story of a rare and magical relationship between two artists wildly, exuberantly ahead of their time, and a fascinating account of the struggle to bring their vision of bad puns and talking animals to unforgettable life.

    But with so much variety between an Alfred Hitchcock thriller and a Nora Ephron romantic comedy, how can everyday viewers determine what makes a good movie?In Talking Pictures, veteran film critic Ann Hornaday walks us through the production of a typical movie—from writing the script and casting to the final sound edit—and explains how to evaluate each piece of the process. How do we know if a film is well-written, above and beyond snappy dialogue? What constitutes a great screen performance? What goes into praiseworthy cinematography, editing, and sound design? And what does a director really do? Full of engaging anecdotes and interviews with actors and filmmakers, Talking Pictures will help us see movies in a whole new light—not just as fans, but as film critics in our own right.