Its notoriety is so great that its title has become a generic term for disaster, for ego run rampant, for epic mismanagement, for wanton extravagance. It was also the film that brought down one of Hollywood’s major studios—United Artists, the company founded in 1919 by Douglas Fairbanks, Mary Pickford, D. W. Griffith, and Charlie Chaplin. Steven Bach was senior vice president and head of worldwide production for United Artists at the time of the filming of Heaven's Gate, and apart from the director and producer, the only person to witness the film’s evolution from beginning to end. Combining wit, extraordinary anecdotes, and historical perspective, he has produced a landmark book on Hollywood and its people, and in so doing, tells a story of human absurdity that would have made Chaplin proud.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    Alexander 'Sandy' Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles.Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.

    It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    Among these guilty pleasures, almost-masterpieces, and undeniable classics in need of revival are unsung noirs (Murder by Contract), famous flops (Can’t Stop the Music, Joe Versus the Volcano), art films (L’ange), theatrical adaptations (The Iceman Cometh), B-movies (Killer Klowns from Outer Space), and even a few Oscar-winners (Some Came Running). In these conversations, the filmmakers defend their choices. These films, they argue, deserve a larger audience and for their place in movie history to be reconsidered. But the conversations’ tangents, diversions, and side trips provide as much insight into the directors’ own approach to moviemaking as into the film they’re discussing. The filmmakers are the perfect hosts, often setting the tone, managing expectations, and giving advice about how you should watch each movie. They’re often brutally honest about a film’s shortcomings or the reasons why it was lost in the first place. The Best Film You’ve Never Seen is not only a guide to some badly overlooked movies but a bold attempt to rewrite film history.

    How could it lose? But instead Salamon got a front-row seat at the Hollywood disaster of the decade. She shadowed the film from its early stages through the last of the eviscerating reviews, and met everyone from the actors to the technicians to the studio executives. They'd all signed on for a blockbuster, but there was a sense of impending doom from the start--heart-of-gold characters replaced Wolfe's satiric creations; affable Tom Hanks was cast as the patrician heel; Melanie Griffith appeared mid-shoot with new, bigger breasts. With a keen eye and ear, Salamon shows us how the best of intentions turned into a legendary Hollywood debacle.The Devil's Candy joins John Gregory Dunne's The Studio, Steven Bach's Final Cut, and William Goldman's Adventures in the Screen Trade as a classic for anyone interested in the workings of Hollywood. With a new afterword profiling De Palma ten years after the movie's devastating flop (and this book's best-selling publication), Julie Salamon has created a riveting insider's portrait of an industry where art, talent, ego, and money combine and clash on a monumental scale.

    Contained in this volume are the following essays: Civil Disobedience, Natural History of Massachusetts, A Walk to Wachusett, The Landlord, A Winter Walk, The Succession of Forest Trees, Walking, Autumnal Tints, Wild Apples, Night and Moonlight, Aulus Persius Flaccus, Herald of Freedom, Life Without Principle, Paradise (to be) Regained, A Plea for John Brown, The Last Days of John Brown, After the Death of John Brown, The Service, Slavery in Massachusetts, and Wendell Phillips Before Concord Lyceum.

    Offers students a panoramic overview of the worldwide development of film, from the first movements captured on celluloid, through the studio heyday of the 1930s and 1940s and the Hollywood renaissance of the 1960s and 1970s, to the technology appearing today.

    This book lays to rest the persistent myth that businesspeople and producers stifle artistic talent and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers, and the making-and unmaking-of movies, from Frankenstein to Spellbound to Grand Hotel. Richly illustrated and highly readable, The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundations of the New.

    Soderbergh's freshman film, sex, lies and videotape, inaugurated a movementin US independent cinema. Lester's freewheeling work in the '60s and '70s (Help!, A Hard Day's Night, The Knack, How I Won the War, Petulia) helped create a 'new wave' of British film-making. Here, the two cineastes discuss their mutual passion for the medium in a frank,funny and free-ranging series of interviews. Also included is Soderbergh's diary of an extraordinary twelve months in which he ventured into 'guerilla film-making' with offbeatprojects Schizopolis and Gray's Anatomy, before returning to the Hollywood fray with the George Clooney hit Out of Sight.

    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 anthology charts the history of those debates, bringing together the key, classic essays in feminist film theory. Feminist Film Theory maps the impact of major theoretical developments on this growing field-from structuralism and psychoanalysis in the 1970s, to post-colonial theory, queer theory, and postmodernism in the 1990s.Covering a wide range of topics, including oppressive images, woman as fetishized object of desire, female spectatorship, and the cinematic pleasures of black women and lesbian women, Feminist Film Theory is an indispensable reference for scholars and students in the field.Contributors include Judith Butler, Carol J. Clover, Barbara Creed, Michelle Citron, Mary Ann Doane, Teresa De Lauretis, Jane Gaines, Christine Gledhill, Molly Haskell, bell hooks, Claire Johnston, Annette Kuhn, Julia Lesage, Judith Mayne, Tania Modleski, Laura Mulvey, B. Ruby Rich, Kaja Silverman, Sharon Smith, Jackie Stacey, Janet Staiger, Anna Marie Taylor, Valerie Walkerdine, and Linda Williams.

    With the myriad social upheavals over the past decade, documentaries have enjoyed an international renaissance; here Barnouw considers the medium in the light of an entirely new political and social climate. He examines as well the latest filmmaking technology, and the effects that video cassettes and cable television are having on the production of documentaries. And like the previous editions, Documentary is filled with photographs, many of them rare, collected during the author's travels around the world. Covering the full course of the documentary from Louis Lumiere's first effort to recent landmark productions such as Shoah, this book makes the growing importance of a unique blend of art and reality accessible and understandable to all film lovers.

    Here is a rare and wonderfully insightful chance to experience all of these films, and the history and process of moviemaking in general, through the words and wit of the master director. Richard Schickel’s canny and intelligent interviews guide us through Scorsese’s life and work, from the child who escaped the realities of Little Italy in the 1950s through movies to the man whose increasingly encyclopedic knowledge of film shaped his ambitions and art. Scorsese reveals which films are most autobiographical and which have been forays into unknown territory in content or aesthetics. He talks about his lesser-known movies, those already considered classics, his documentaries, and his influences. He explains his personal style, the close attention he pays to detail, and his attraction to genre films. And he discusses what being a lifelong student of film has taught him about acting, directing, music, and camerawork, among many other topics. The result is a vivid, immensely enlightening history of modern Hollywood seen through the eyes of one intrepid filmmaker. We see audiences’ expectations tested by what Scorsese was willing to put on the screen in explorations of prostitution, institutionalized violence, and religion. We see the unavoidable frustrations and exhilarating rewards of filming live concerts for The Band and at Woodstock. And we see many of the rewarding artistic and personal relationships of Scorsese’s career, including collaborations with Robert De Niro, Harvey Keitel, Jack Nicholson, and Leonardo DiCaprio. An invaluable appreciation of one of our most admired film directors.

    Step right up and get your fill of 80s nostalgia with the movie bible to end all movie bibles. We’ve diligently compiled a list of 140 of the most influential movies of the 1980s that’s sure to please popcorn gobblers and highbrow chin-strokers alike. The 80s was a time for adventurers, an era of excess, pomp, and bravado. In the era when mullets and shoulder pads were all the rage, moviegoers got their kicks from flicks as wide-ranging as Blade Runner, When Harry Met Sally, and Blue Velvet. Without a doubt, sci-fi was the most important genre of the decade, with non-human characters like E.T. winning the hearts of millions while the slimy creatures from Aliens became the stuff of nightmares and movies like Ghostbusters and Back to the Future fused comedy and sci-fi to the delight of audiences everywhere. In fact, the 1980s saw the invention of a new reality, a movieworld so convincingly real - no matter now far-fetched - that spectators could not help but abandon hemselves to it. Now that’s entertainment, folks.