His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.

    As the plane's engines rev she breathes a sigh of relief, lights a cigarette and slips off her wig revealing a tangle of fluffy blonde curls. Marilyn Monroe was leaving Hollywood behind, and along with it a failed marriage and a frustrating career. She needed a break from the scrutiny and insanity of LA. She needed Manhattan.In Manhattan, the most famous woman in the world can wander the streets unbothered, spend hours at the Met getting lost in art, and afternoons buried in the stacks of the Strand. Marilyn begins to live a life of the mind in New York; she dates Arthur Miller, dances with Truman Capote and drinks with Carson McCullers. Even though she had never lived there before, in New York, Marilyn is home.In Marilyn in Manhattan, the iconic blonde bombshell is not only happy, but successful. She breaks her contract with Fox Studios to form her own production company, a groundbreaking move that makes her the highest paid actress in history and revolutionizes the entertainment industry. A true love letter to Marilyn, and a joyous portrait of a city bursting with life and art, Marilyn in Manhattan is a beautifully written, lively look at two American treasures: New York and Marilyn Monroe, and sheds new light on one of our most enduring icons.

    Professor Barsam's clear writing, thorough presentation of fundamental film principles, and unique pedagogical additions to the traditional introductory text-- including an entire chapter devoted to analytical writing-- ensure that students approach screenings and writing assignments equipped with the analytical tools necessary to be active, insightful interpreters of movies. "Looking at Movies" is accompanied by two outstanding multimedia resources, the Student website and CD-ROM, both of which are integrated directly with the text.

    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

    Its fans tend to be fanatical, congregating at 'Lebowski Conventions' in bowling alleys across American and Britain, and even dressing up as characters from the film. Among the funniest films of the last twenty-five years, and one of the high-water marks of 1990s genre recycling and pastiche, The Big Lebowski is also littered with playful and subversive references to film history, especially to Raymond Chandler's world of hardboiled detective classics and the world of film noir. The Big Lebowski is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation. Underneath the film's breakneck pacing and foul-mouthed characters, a farcical collection of flakes, losers, and phonies, is a surprisingly humane account of what fools we mortals be. It is one of the oddest buddy films ever made, with extraordinary performances by Jeff Bridges and John Goodman. In this study, The Big Lebowski is set into the context of 1990s Hollywood cinema, anatomised for its witty relationship with the classics which it satirises, and discussed in terms of its key theme: the hopeless flailing of ridiculously unmanly men in the world of discombobulated, mixed-up, or put-on identities that is Los Angeles.

    Eight autobiographical essays by Brooks, on topics ranging from her childhood in Kansas and her early days as a Denishawn and Ziegfeld Follies dancer to her friendships with Martha Graham, Charles Chaplin, W. C. Fields, Humphrey Bogart, and others are collected here. Originally published: New York: Knopf, 1982.

    Then from it, nearly overnight, emerged one of the world's largest and most iconic cities. The birth and evolution of Los Angeles--its seemingly impossible, meteoric rise--can be attributed largely to three ingenious but deeply flawed people. D.W. Griffith, the early film pioneer who first conceived of feature-length movies, gave Hollywood its industry. Aimee Semple McPherson, a young evangelist and radio preacher, infused the city with its spiritual identity as a hub for reinvention. And William Mulholland, an Irish immigrant turned ditch-digger turned autodidactic engineer, would design the massive aqueduct that made survival in the harsh climate feasible.But while Mulholland, Griffith, and Semple McPherson were all masters of their craft, each would self-destruct in spectacular fashion. D.W. Griffith, led by his ballooning ego, would go on to produce a string of commercial failures; Semple McPherson would be crucified in the tabloids for fabricating an account of her own kidnapping; and a dam designed by Mulholland would fail just hours after he gave it a safety inspection.Spanning from 1904 to 1930, The Mirage Factory is the enthralling tale of an improbable city and the people who willed it into existence by pushing the limits of human engineering and peddling fantasies.

    The Big Show is the only book ever to offer an unguarded, behind-the-scenes glimpse of this singular event, along with remarkable insight into how the Oscars reflect the high-stakes politics of Hollywood, our obsession with celebrities (not to mention celebrities’ obsession with themselves), and the cinematic state of the union.

    To celebrate these films and their cultural heritage, Roger Moore has written a book that features all the Bond movies, along with a wonderfully witty account of his own involvement in them.  From the girls to the villains, the cars to the cocktails, the gadgets, locations and everything else, this beautiful book is illustrated with hundreds of iconic images from all the films plus many previously unseen photos from the Bond archive. This is the ultimate James Bond book, written by the ultimate insider, with all the affection and good humor he brought to the role.  It is the perfect gift for all fans of these much loved films.

    He shares excerpts from conversations with filmmakers like Peter Jackson, Wim Wenders, Kevin Smith, Scott Derrickson, producer Ralph Winter, and stars like Elijah Wood, Ian McKellan, Keanu Reeves and the cast of Serenity, drawing “war-stories” from his encounters with movie stars, moviemakers, moviegoers and other critics in both mainstream and religious circles. He argues that what makes some films timeless rather than merely popular has everything to do with the way these artists—whether they know it or not—have captured reflections of God in their work.Through a Screen Darkly also includes a collection of reviews, humorous anecdotes and on-the-scene film festival reports, as well as recommendations for movie discussion groups and meditations on how different films echo the myriad ways in which Christ captured the attention and imagination of culture.

    To appreciate this, though it is necessary to look at what happens on the screen without bringing preconceptions to bear.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    A guide to more than one hundred of the most popular and controversial cult classic films ever made includes coverage of All About Eve, Tarzan and His Mate, and The Texas Chainsaw Massacre.

    They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age.They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved.

    It’s clear that cinema is as healthy as ever. Oscar-worthy directors, indie geniuses and foreign artists are creating stunning, boundary-pushing work. Since the turn of the century, movie lovers have been enjoying a second golden age. But which films are the best of the best? What are the top movies since 2000 to see before you die? Chris Stuckmann, one of YouTube’s most popular film reviewers (70+ million views) gives us his best of the best! In his book debut, Stuckmann delivers his list of the very best 50 Movies since 2000 – with that style and punch that YouTube viewers have come to love. These are the films you must see before you die.