From his marriage to Ali McGraw, his cocaine bust, the accusations of murder, the friendships with the likes of Jack Nicholson and Dustin Hoffman, to his legendary court case and bust up with Francis Ford Coppola, this is the tell-all autobiography from Robert Evans, the legendary Hollywood producer (The Godfather, Rosemary's Baby and Chinatown) who's lived the Hollywood dream.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    One little-known group settled in Kerala, in tropical southwestern India. Eventually numbering in the thousands, with eight synagogues, they prospered. Some came to possess vast estates and plantations, and many enjoyed economic privilege and political influence. Their comfortable lives, however, were haunted by a feud between the Black Jews of Ernakulam and the White Jews of Mattancherry. Separated by a narrow stretch of swamp and the color of their skin, they locked in a rancorous feud for centuries, divided by racism and claims and counterclaims over who arrived first in their adopted land. Today, this once-illustrious people is in its dying days. Centuries of interbreeding and a latter-day Exodus from Kerala after Israel's creation in 1948 have shrunk the population. The Black and White Jews combined now number less than fifty, and only one synagogue remains. On the threshold of extinction, the two remaining Jewish communities of Kerala have come to realize that their destiny, and their undoing, is the same.The Last Jews of Kerala narrates the rise and fall of the Black Jews and the White Jews over the centuries and within the context of the grand history of the Jewish people. It is the story of the twilight days of a people whose community will, within the next generation, cease to exist. Yet it is also a rich tale of weddings and funerals, of loyalty to family and fierce individualism, of desperation and hope.

     If there is a paradise on earth, it is definitely here, here and only here," said the early seventeenth-century Mughal Emperor Jehangir when describing the Kashmir Valley. But for nearly twenty years this delicate mountain region has been torn by a brutal conflict that has pitched idealism against Islamist militancy and military crackdown. In the tradition of Ryszard Kapuscinski, this is an intimate story told by the author, journalist, and aid worker Justine Hardy. Having lived and worked in Kashmir for many years, she draws the reader beyond the headlines into the world of In the Valley of Mist. A family portrait, the book describes a unique and gentle culture that has been shattered by the impact of insurgency, repression, and Islamic extremism in a place once famous for the warmth between its Hindu and Muslim residents. "If you want people to know do not tell stories that will make them hold their breath like in a made-up film. Tell them the truth. It is strong enough," she was told when she asked permission of her Kashmiri friends to tell this story. Revealing and disturbing, In the Valley of Mist paints Kashmir as the template for the changing face of Islam.

    Vogel examines the business economics of the major entertainment enterprises: movies, music, television programming, broadcasting, cable, casino gambling and wagering, publishing, performing arts, sports, theme parks, and toys and games. The seventh edition has been further revised and broadened and differs from its predecessors by restructuring and repositioning the previous Internet chapter, including new material on the economics of networks and advertising, adding a new section on policy implications, and further expanding the section on recent theoretical work pertaining to box-office behaviour. The result is a comprehensive up-to-date reference guide on the economics, financing, production, and marketing of entertainment in the United States and overseas. Investors, business executives, accountants, lawyers, arts administrators, and general readers will find that the book offers an invaluable guide to how entertainment industries operate.

    Along the way, he recounts his passages through Aligarh University, the National School of Drama and the Film and Television Institute of India, where his luck finally began to change. And Then One Day tells a compelling tale, written with rare honesty and consummate elegance, leavened with tongue in cheek humour. There are moving portraits of family members, darkly funny accounts of his school days and vivid cameos of directors and actors he has worked with, among them Ebrahim Alkazi, Shyam Bengal, Girish Karnad, Om Puri and Shabana Azmi. The accounts of his struggle to earn a living through acting, his experiments with the craft, his love affairs, his early marriage, his successes and failures are narrated with remarkable frankness and objective self-assessment. Brimming with delightful anecdotes as well as poignant, often painful revelations, this book is a tour de force, destined to become a classic of the genre.

    Its Internet community web site, Fox Nation, serves as the online gathering place for Fox viewers to absorb and spread the aggregated disinformation and conspiracy theories hatched by Fox News.Two years ago the first volume of Fox Nation vs. Reality was published revealing an Internet operation that was dedicated to fiercely partisan, right-wing distortions of the truth. Its mission was, and remains, to construct a safe haven for the broader Fox News community to reinforce their preferred fantasies and unfounded preconceptions. Since then Fox Nation has evolved into an even more sheltered environment that has taken on many characteristics of culthood. It is a pattern they adopted from their parent, Fox News, where the slogan “fair and balanced” was an implicit condemnation of all other news sources as being neither. Recognizing that the prime directive of a cult is to convince your followers that your version of reality is the only true version and that all others are agents of deception, Fox segregated their disciples to prevent them from being contaminated by impure thoughts, otherwise known as facts.In Fox Nation vs. Reality you will find a compilation of articles originally published on the media analysis web site News Corpse. They provide an eye-opening look into the lengths that committed propagandists will go in order to fabricate an alternative political reality. And remember that Fox Nation is not some remote outpost on the Internet Superhighway. It is an integral part of Fox News whose executives are wholly responsible for the stain it produces on journalism.

    As he sets about reducing her to his idealised version of a kept woman, bullying her out of her life as an academic and writer in the process, she attempts to push back - a resistance he resolves to break with violence and rape. Smart, fierce and courageous When I Hit You is a dissection of what love meant, means and will come to mean when trust is undermined by violence; a brilliant, throat-tightening feminist discourse on battered faces and bruised male egos; and a scathing portrait of traditional wedlock in modern India.

    Used in many colleges as an introduction to the saint. Beautiful translation and story from the French edition.

    The Argumentative Indian is "a bracing sweep through aspects of Indian history and culture, and a tempered analysis of the highly charged disputes surrounding these subjects--the nature of Hindu traditions, Indian identity, the country's huge social and economic disparities, and its current place in the world" (Sunil Khilnani, Financial Times, U.K.).

    It remains the definitive text on the nation. This new edition has been thoroughly revised, containing new research, and an up-to-date preface, index and dateline. The authors examine the major political, economic, social and cultural forces which have shaped the history of the Indian subcontinent in this survey. This classic text is an authoritative detailed account which emphasises and analyses the stuctural pattern of Indian history.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.

    Encounter Shiva like never before!

    Clarke created this cinematic masterpiece.Regarded as a masterpiece today, 2001: A Space Odyssey received mixed reviews on its 1968 release. Despite the success of Dr. Strangelove, director Stanley Kubrick wasn’t yet recognized as a great filmmaker, and 2001 was radically innovative, with little dialogue and no strong central character. Although some leading critics slammed the film as incomprehensible and self-indulgent, the public lined up to see it. 2001’s resounding commercial success launched the genre of big-budget science fiction spectaculars. Such directors as George Lucas, Steven Spielberg, Ridley Scott, and James Cameron have acknowledged its profound influence.Author Michael Benson explains how 2001 was made, telling the story primarily through the two people most responsible for the film, Kubrick and science fiction legend Arthur C. Clarke. Benson interviewed Clarke many times, and has also spoken at length with Kubrick’s widow, Christiane; with visual effects supervisor Doug Trumbull; with Dan Richter, who played 2001’s leading man-ape; and many others.A colorful nonfiction narrative packed with memorable characters and remarkable incidents, Space Odyssey provides a 360-degree view of this extraordinary work, tracking the film from Kubrick and Clarke’s first meeting in New York in 1964 through its UK production from 1965-1968, during which some of the most complex sets ever made were merged with visual effects so innovative that they scarcely seem dated today. A concluding chapter examines the film’s legacy as it grew into it current justifiably exalted status.