Witty and honest, she remained in control of her life, her career and her many, many loves.

    Following the success of Isms: Understanding Art and Isms: Understanding Architectural Styles, this guide sorts the great classic films and directors according to the significant movements that have shaped the development of cinema. Beginning with the early silent era, it spans the entire range of movie history up to the present wave of indie films and the growing fascination with international cinema. Each spread is devoted to a distinct movement and explains when it first emerged, the principal directors, themes, and representative films, and is illustrated with film stills, posters, and photos. Important international cinematic breakthroughs are also highlighted, as well as the careers of international auteurs like Kurosawa, Fellini, and Almodóvar. From prewar Expressionism to twenty-first-century Dystopianism, Film Isms… offers an engaging, new way of understanding movie history.

    This is a biography of the ascerbic and witty film critic Pauline Kael.

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    The embodiment of romantic masculinity in American film throughout the ‘50s and ‘60s, Hudson reigned supreme as the king of Hollywood.As an Oscar-nominated leading man, Hudson won acclaim for his performances in glossy melodramas (Magnificent Obsession), western epics (Giant) and blockbuster bedroom farces (Pillow Talk). In the ‘70s and ‘80s, Hudson successfully transitioned to television; his long-running series McMillan & Wife and a recurring role on Dynasty introduced him to a whole new generation of fans.The icon worshipped by moviegoers and beloved by his colleagues appeared to have it all. Yet beneath the suave and commanding star persona, there was an insecure, deeply conflicted, and all too vulnerable human being. Growing up poor in Winnetka, Illinois, Hudson was abandoned by his biological father, abused by an alcoholic stepfather, and controlled by his domineering mother.Despite seemingly insurmountable obstacles, Hudson was determined to become an actor at all costs. After signing with the powerful but predatory agent Henry Willson, the young hopeful was transformed from a clumsy, tongue-tied truck driver into Universal Studio’s resident Adonis. In a more conservative era, Hudson’s wholesome, straight arrow screen image was at odds with his closeted homosexuality.As a result of his gay relationships and clandestine affairs, Hudson was continually threatened with public exposure, not only by scandal sheets like Confidential but by a number of his own partners. For years, Hudson dodged questions concerning his private life, but in 1985 the public learned that the actor was battling AIDS. The disclosure that such a revered public figure had contracted the illness focused worldwide attention on the epidemic.Drawing on more than 100 interviews with co-stars, family members and former companions, All That Heaven Allows finally delivers a complete and nuanced portrait of one of the most fascinating stars in cinema history.Author Mark Griffin provides new details concerning Hudson’s troubled relationships with wife Phyllis Gates and boyfriend Marc Christian. And here, for the first time, is an in-depth exploration of Hudson’s classic films, including Written on the Wind, A Farewell to Arms, and the cult favorite Seconds. With unprecedented access to private journals, personal correspondence, and production files, Griffin pays homage to the idol whose life and death had a lasting impact on American culture.

    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.

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    Kenneth Turan’s fifty-four favorite films embrace a century of the world’s most satisfying romances and funniest comedies, the most heart-stopping dramas and chilling thrillers.Turan discovered film as a child left undisturbed to watch Million Dollar Movie on WOR-TV Channel 9 in New York, a daily showcase for older Hollywood features. It was then that he developed a love of cinema that never left him and honed his eye for the most acute details and the grandest of scenes.Not to be Missed blends cultural criticism, historical anecdote, and inside-Hollywood controversy. Turan’s selection of favorites ranges across all genres. From All About Eve to Seven Samurai to Sherlock Jr., these are all timeless films—classic and contemporary, familiar and obscure, with big budgets and small—each underscoring the truth of director Ingmar Bergman’s observation that “no form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”

    The rich, the famous, the beautiful, crowded its pages as if playing roles in one of his own lavish films. Churchill ( who secretly wrote film scripts for him), H.G. Wells, Lord Beaverbrook, Brendan Brendan Bracken, were among his lifelong friends; Olivier, Laughton, Ralph Richardson, Dietrich, Vivien Leigh, Merle Oberon (whom he married) among those he brought to stardom.

    To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released.

    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

    Featuring a collection of images from the studios' own vaults, this book looks at the 'creature features' which continue to influence filmmakers today.

    The films of the New Wave in Japan have, until now, been largely overlooked. Eros plus Massacre (taking its title from a 1969 Yoshida Yoshishige film) is the first major study devoted to the examination and explanation of Japanese New Wave film.Desser organizes his volume around the defining motifs of the New Wave. Chapters examine in depth such themes as youth, identity, sexuality, and women, as they are revealed in the Japanese film of the sixties. Desser's research in Japanese film archives, his interviews with major figures of the movement, and his keen insight into Japanese culture combine to offer a solid and balanced analysis of films by Oshima, Shinoda, Imamura, Yoshida, Suzuki, and others.

    He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom. Students of film and cultural studies will find this an invaluable part of there course reading.