The collection is assembled by the editors of the Third Edition of Film Noir: An Enclyclopedic Reference to the American Style, now regarded as the standard work on the subject.

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

    With unprecedented access to the Lee family and new interviews with stars and celebrities—including Denzel Washington, Halle Berry, Rosie Perez, Adrien Brody, John Turturro, and many others—film critic Kaleem Aftab chronicles Spike Lee's explosive rise to stardom, exploring such important issues as Black Nationalism, Hollywood stereotyping, and the rise of a powerful black middle class. Lee's prominence in American culture continues in 2006 with the release of The Inside Man and a forthcoming documentary on Hurricane Katrina. Spike Lee tells us as much about the last two decades of American social history as it does about the life of this fascinating director.

    From 1962's Dr. No to 2012's Skyfall, this lavish film-by-film guide, written by Bond Production Designer Dennis Gassner, boasts the most impressive visual collection of James Bond movie posters to date. Featuring a gallery of rare and sought-after posters, as well as spectacular unused concept artwork, and unique teasers and lobby cards from virtually every country where Bond movies have screened, this is a gorgeous collection of the images that have defined cinema's most famous superspy. 007 (Gun Logo) and related James Bond Trademarks© 1962-2012 Danjaq, LLC and United Artists Corporation. All rights reserved. 007 (Gun Logo) and related James Bond Trademarks are trademarks of Danjaq, LLC, licensed by EON Productions Limited.

    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.

    - Includes a section on the making of the much-anticipated Gangs of New York starring Leonardo DiCaprio- With an updated chronology, filmography, and index

    This is both one man's remarkable story and an essential guide for anyone who has a celluloid story to tell and the dreams and determination to see it through.  Part production diary, part how-to manual, Rodriguez unveils how he was able to make his influential first film on only a $7,000 budget.  Also included is the appendix, 'The Ten Minute Film Course,” a tell-all on how to save thousands of dollars on film school and teach yourself the ropes of film production, directing, and screenwriting.

    Providing extended critical discussion on six of his most important films (Shadows, Faces, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams), Ray Carney argues that Cassavetes' work is a distinctly life-affirming form of modernist expression that is at odds with the world-denying modernism of many of the most important art works produced in this century. Cassavetes is revealed to be a profoundly thoughtful and self-aware filmmaker and a deeply philosophical thinker, whose work takes its place in the American tradition along with the writings of Ralph Waldo Emerson and William James. The six films treated here emerge as expressive interpretations of the bewildering challenges in contemporary American cultural experience.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    In the book Wenders moves from a contemplation of pure cinema, to a consideration and analysis of his own films. Beginning with the question: Why do you make films?, Wenders expresses his own unique approach to cinema.

    Though more unbridled, salacious, subversive, and just plain bizarre than what came afterwards, the films of the period do indeed have the look of Hollywood cinema--but the moral terrain is so off-kilter that they seem imported from a parallel universe.In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded--in sum, pretty much the raw stuff of American culture, unvarnished and unveiled.No other book has yet sought to interpret the films and film-related meanings of the pre-Code era--what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.

    a valuable and important book..." --The Year's Work in Critical and Cultural TheoryRepresenting Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image."[Nichols] has written a road-block of a book which reconfigures the debate on the documentary at a new level of sophistication and complexity which can only be ignored at the risk of ignoring the whole area of documentary film." --Sight and Sound..". the most important book on documentary film yet published." --Canadian Journal of Film Studies

    An inspiration to all would-be screenwriters, this book is about living the screenwriter's life -- the habits, writing environments, creative processes, daily passions, and obsessions.In The 101 Habits of Highly Successful Screenwriters, author Karl Iglesias has interviewed 14 top contemporary Hollywood screenwriters who offer their experience, insight, and advice to aspiring screenwriters everywhere.

    Now, for the first time, del Toro reveals the inspirations behind his signature artistic motifs, sharing the contents of his personal notebooks, collections, and other obsessions. The result is a startling, intimate glimpse into the life and mind of one of the world's most creative visionaries. Complete with running commentary, interview text, and annotations that contextualize the ample visual material, this deluxe compendium is every bit as inspired as del Toro is himself.Contains a foreword by James Cameron, an afterword by Tom Cruise, and contributions from other luminaries, including Neil Gaiman and John Landis, among others.

    Written by an international team of critics, authors, academics, producers and journalists, this book reviews TV series from more than 20 countries, highlights classic episodes to watch and also provides cast summaries and production details.