From Walter to John to Anjelica, there are three generations of Oscar winners in the remarkable Huston family.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me.In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately.From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).

    Dredged from his subconscious mind, Lynch’s work is primed to act on our own subconscious, combining heightened, contradictory emotions into something familiar but inscrutable. No less than his art, Lynch’s life also evades simple categorization, encompassing pursuits as a musician, painter, photographer, carpenter, entrepreneur, and vocal proponent of Transcendental Meditation.David Lynch: The Man from Another Place, Dennis Lim’s remarkably smart and concise book, proposes several lenses through which to view Lynch and his work: through the age-old mysteries of the uncanny and the sublime, through the creative energies of surrealism and postmodernism, through ideas of America and theories of good and evil. Lynch himself often warns against overinterpretation. And accordingly, this is not a book that seeks to decode his art or annotate his life—to dispel the strangeness of the Lynchian—so much as one that offers complementary ways of seeing and understanding one of the most distinctive bodies of work in modern cinema. Its spirit is true to its subject, in remaining suggestive rather than definitive, in allowing what Lynch likes to call “room to dream,” and in honoring the allure of the unknown and the unknowable.

    Say his name, and images of West Side Story, Gypsy, Anastasia, The Turning Point, and The Way We Were appear. Laurents' highly praised memoir is a dazzling portrait of his life - as he recounts the great moments, the trials and the joys of his incredible career. He takes us into his world, peopled with the creative artists, directors, actors and personalities who came of age in the theatre and in Hollywood after WWII. Later, back in New York, he writes about jump-starting Barbra Streisand's career by casting her in I Can Get It for You Wholesale. He writes about the creation of Gypsy with Jule Styne and Stephen Sondheim. And he writes about coming together in a complex, fraught collaboration with his three old pals, Jerome Robbins, Leonard Bernstein and Sondheim for West Side Story. Throughout, Laurents is funny, fierce, and frank - a life recounted as richly as it was lived. "This is a historic work. A 'must' for show biz mavens." - LIZ SMITH, Newsday & Syndicated

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    This completely revised and updated edition of the classic text describes and analyzes every movie made by master filmmaker Alfred Hitchcock.

    A backstage glimpse of the realities of the new Hollywood focuses on the film releases and strategies of the summer of 1998, showing why Godzilla was fated to fail and how Spielberg triumphed.

    Illustrated throughout with behind-the-scenes photos.

    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.

    Burt Lancaster is known to audiences around the world as the electrifying performer of Gunfight at the O.K. Corral, From Here to Eternity, and Birdman of Alcatraz, among many others. Kate Buford brings to life his vivid, memorable on-screen presence as well as the off-screen life he kept intensely private. The first writer to win cooperation from Lancaster's widow and close friends, Buford has written the intimate story of one of the last great unexamined Hollywood lives, capturing both the golden boy and the husband, philanderer, and sometime bisexual. Buford's portrait is compelling, comprehensive, intelligent—and definitive.

    Skal chronicles one of our most popular and pervasive modes of cultural expression. He explores the disguised form in which Hollywood's classic horror movies played out the traumas of two world wars and the Depression; the nightmare visions of invasion and mind control catalyzed by the Cold War; the preoccupation with demon children that took hold as thalidomide, birth control, and abortion changed the reproductive landscape; the vogue in visceral, transformative special effects that paralleled the development of the plastic surgery industry; the link between the AIDS epidemic and the current fascination with vampires; and much more. Now with a new Afterword by the author that looks at horror's popular renaissance in the last decade, The Monster Show is a compulsively readable, thought-provoking inquiry into America's obsession with the macabre.

    Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.

    Its old-fashioned, larger-than-life stars--including Bette Davis, Marilyn Monroe, Anne Baxter, George Sanders, and Celeste Holm--found their best roles in Eve and its sophisticated dialogue has entered the lexicon.But there's much more to know about All About Eve. Sam Staggs has written the definitive account of the making of this fascinating movie and its enormous incluence on both film and popular culture. Staggs reveals everything about the movie--from the famous European actress Margo Channing was based on to the hot-blooded romance on-set between Bette Davis and costar Gary Merrill, from the jump-start the movie gave Marilyn Monroe's career to the capstone it put on director Joseph L. Mankeiwicz's.All About "All About Eve" is not only full of rich detail about the movie, the director, and the stars, but also about the audience who loved it when it came out and adore it to this day.