With new entries on several films, it also revisits, revises and expands the commentary on every film in the 1982 and 1986 two-volume edition. In addition to a detailed plot synopsis, cast and credit listings, and an overview of each film's critical reception, Warren delivers richly informative assessments of the films and a wealth of insights and anecdotes about their making, often drawing on remarks by the filmmakers that have emerged in the quarter century since the original edition. The book is arranged by film title, contains 273 photographs (many rare, some in color), has seven useful appendices, and concludes with an enormous index.

    The Emperor and the Wolf is an in-depth look at these two great artists and their legacy that brims with behind-the-scenes details, many never before known, about their tumultuous lives and stormy relationships with the studios and with one another. More than just a biography, though, The Emperor and the Wolf is also an impromptu history of Japanese cinema -- its development, filmmakers, and performers -- and a provocative look at postwar American and Japanese culture and the different lenses through which two great societies viewed each other.

    The film united Britain's leading actor, Laurence Olivier, with Hollywood's most glamorous sex symbol, Marilyn Monroe - and clashes between them entered film legend.For one glorious week, the world's biggest star sought comfort in the arms of the set's most junior employee. This is the frank, fresh and comic story of how Clark came to share Monroe's confidences - and her bed!This edition combines Colin Clark’s acclaimed 'The Prince, the Showgirl and Me' (191995) and his 'My Week with Marilyn' (2005).'More illuminating than the millions of words and pictures pumped out to expose or dish the dirt on the Monroe legend.' - Sunday TelegraphClark’s extraordinary experiences on and off set have now been turned into a major film starring Michelle Williams, Eddie Redmayne, Judi Dench, Emma Watson, Kenneth Branagh and Dominic Cooper.

    His performances, particularly in the first 20 years of his career, are unparalleled. The Godfather, Taxi Driver, Mean Streets, The Deer Hunter, Raging Bull-all dazzled moviegoers-a talent the likes of which we have rarely or never seen. Yet so little is known about De Niro-he is an intensely private man, whose rare public appearances are often marked by inarticulateness and all-around awkwardness. It can be almost painful to watch at times, in such contrast to his on-screen personae. In this elegant and compelling biography, Shawn Levy writes of these many De Niros-of the characters, and of the man, seeking to understand an evolution of an actor who once used roles to hide the nature of his real life, and who now turns down those parts, instead to play characters who possess little challenge to his overwhelming talent. From De Niro's roots as the child of artists (often called Bobby Milk for his pasty complexion) to his marriages and life as a father, restauranteur, and philanthropist, and of course to his current movie career, Levy has written a biography that reads like a novel of a character whose inner turmoil takes him to heights of artistry. Among the many who have been key players in his career are the likes of Martin Scorcese, Francis Ford Coppola, Meryl Streep, John Cazale, and countless others who appear in the book.

    First published in 1996, Bound and Gagged opens with the chilling case of Daniel DePew, a man convicted—in the first computer bulletin board entrapment case—of conspiring to make a snuff film and sentenced to thirty-three years in prison for merely trading kinky fantasies with two undercover cops.Using this textbook example of social hysteria as a springboard, Kipnis argues that criminalizing fantasy—even perverse and unacceptable fantasy—has dire social consequences. Exploring the entire spectrum of pornography, she declares that porn isn’t just about gender and that fantasy doesn’t necessarily constitute intent. She reveals Larry Flynt’s Hustler to be one of the most politically outspoken and class-antagonistic magazine in the country and shows how fetishes such as fat admiration challenge our aesthetic prejudices and socially sanctioned disgust. Kipnis demonstrates that the porn industry—whose multibillion-dollar annual revenues rival those of the three major television networks combined—know precisely how to tap into our culture’s deepest anxieties and desires, and that this knowledge, more than all the naked bodies, is what guarantees its vast popularity.Bound and Gagged challenges our most basic assumptions about America’s relationship with pornography and questions what the calls to eliminate it are really attempting to protect.

    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.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    By the end of the following year, moviegoers couldn't get enough of him and his iconic persona, the Little Tramp. Perpetually outfitted with baggy pants, a limp cane, and a dusty bowler hat, the character became so beloved that Chaplin was mobbed by fans, journalists, and critics at every turn. Although he never particularly liked giving interviews, he accepted the demands of his stardom, giving detailed responses about his methods of making movies. He quickly progressed from making two-reel shorts to feature-length masterpieces such as The Gold Rush, City Lights, and Modern Times. Charlie Chaplin: Interviews offers a complex portrait of perhaps the world's greatest cinematic comedian and a man who is considered to be one of the most influential screen artists in movie history. The interviews he granted, performances in and of themselves, are often as well crafted as his films. Unlike the Little Tramp, Chaplin the interviewee comes across as melancholy and serious, as the titles of some early interviews-"Beneath the Mask: Witty, Wistful, Serious Is the Real Charlie" or "The Hamlet-Like Nature of Charlie Chaplin"-make abundantly clear. His first sound feature, The Great Dictator, is a direct condemnation of Hitler. His later films such as Monsieur Verdoux and Limelight obliquely criticize American policy and consequently generated mixed reactions from critics and little response from moviegoers. During this late period of his filmmaking, Chaplin granted interviews less often. The three later interviews included here are thus extremely valuable, offering long, contemplative analyses of the man's life and work.

    But with so much variety between an Alfred Hitchcock thriller and a Nora Ephron romantic comedy, how can everyday viewers determine what makes a good movie?In Talking Pictures, veteran film critic Ann Hornaday walks us through the production of a typical movie—from writing the script and casting to the final sound edit—and explains how to evaluate each piece of the process. How do we know if a film is well-written, above and beyond snappy dialogue? What constitutes a great screen performance? What goes into praiseworthy cinematography, editing, and sound design? And what does a director really do? Full of engaging anecdotes and interviews with actors and filmmakers, Talking Pictures will help us see movies in a whole new light—not just as fans, but as film critics in our own right.

    Rebello takes us behind the scenes for every step in the creation of this cinematic masterpiece-from the story's original inspiration to the controversy surrounding the creation of the famous shower scene. Drawing on new in-depth interviews as well as Hitchcock's private files, Alfred Hitchcock and the Making of Psycho is an eye-opening portrait of the artist at work.

    Released in 1958, Hitchcock's masterpiece is a pinnacle of the cinema. Yet in it Hitchcock abandoned his trademark suspense, allowing the central mystery to be solved halfway through. What remained was a study in sexual obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice-cool but vulnerable, Stewart - in the darkest role of his career - genial on the surface but damaged within.