Biskind began as a radical journalist and film critic, excavating the likes of Rocky and Thunderbolt and Lightfoot for their hidden political subtexts in small lefty rags. Now he can legitimately describe himself - as he does in his autobiographical introduction to this book - as a "recovering celebrity journalist."" The ghosts of McCarthyism and the blacklist haunt Gods and Monsters as do the casualties of the counterculture and the New Hollywood. At the heart of the book are the likes of Martin Scorsese, Robert Redford, Terrence Malick, Sue Mengers, and uber-producer Don Simpson, all of whom Biskind portrays in great Dickensian detail, charting how they have had a simultaneously strangulating and liberating effect on the industry.

    "The Satanic Screen" documents all of Satan's cinematic incarnations, covering not only the horror genre but also a whole range of sub-genres including hardcore porn, mondo and underground film. Heavily illustrated with rare still photographs, posters and arcana, the book also investigates the perennial symbiotic interplay between Satanic cinema and leading occultists (for example, Aleister Crowley), making it essential reading for anyone interested in the Black Arts and their continuing representation in populist culture.Nikolas Schreck is the editor of "The Manson File" (1988), and director of the film "Charles Manson Superstar" (1989). He is a world-respected authority on occultism and true crime.

    Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

    This thoroughly revised and updated second edition of The Visual Culture Reader brings together key writings as well as specially commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, television, cinema and digital culture.The Reader features an introductory section tracing the development of visual culture studies in response to globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction by the editor and conclude with suggestions for further reading.

    Keep the family together, that's what her old mum always said. Put up and shut up. And that's what everyone else did around there. Essex, 1959. Flo earns her money as a scrubber, cleaning the cruise ships and dreaming of a day when she might sail away from her life in the Dwellings, the squalid tenements of Tilbury docks. Then the Blundell family are evicted from their home.Fred, Flo's husband, finds work at Monday's, a utopian factory town. Suddenly, it seems like everything is on the up for Flo Blundell and her children. Even Jeanie, Flo's sulking teenage daughter, seems to be thawing a little in her shiny new surroundings. But when Flo's abusive husband Fred starts drinking again, he jeopardises the family's chance to escape poverty for good.Flo is faced with a terrible decision. Must she fight to keep her family together? Or could she strive for the life of her dreams - the kind of life she could have when her ship comes in?

    But mostly people call me Lula. So, my big news is...I've finally been kissed. Eeeee! I have an actual, factual boyfriend! At least, I thought I did. But things with the perfect boy aren't going to plan - thanks to his journo gal pal, Evil Jazz. And that's not all. Hoooo no. In a few days I've got to dance the hula in public, put a stop to some seriously serious criminal activity, win a race, and stop Dad from shaming me totally with his weirdiness. Frikkly frik! Where is my normal life? Huh? Where? Please, someone, tell me I'm not jinxed forever...Laugh-out-loud funny and gorgeously romantic, Lula Does the Hula is the perfect summer read.

    In a moving tribute to the big screen’s grande dame, the editors of Vanity Fair have published the magazine’s first e-book, a star-studded collection of classic stories from the likes of Dominick Dunne and George Hamilton—taken from the pages of Vanity Fair, Hollywood’s acknowledged arbiter of talent, glamour, and power. This e-book lifts the veil on the real Elizabeth Taylor—the child star and cinematic beauty, the seductress and consummate diva—through her more than 50 films and seven husbands, through her torrid affairs and countless illnesses, meltdowns, and triumphs. Here is a behind-the-scenes portrait of La Liz—in all her dazzling, madcap glory.

    "Why do I behave and think like this?"If you have asked this question of yourself, or have simply wondered where human behaviour springs from, you will find this short introduction to the Ego States an essential and empowering tool.In this short, jargon free introduction to the ego states of Transactional Analysis, the reader is invited to analyse where their behaviour springs from, and to consider how they can improve their life by deepening their self awareness.

    (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which he never fully recovered. For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

    When she calms a stray dog during an incident at school, she’s asked to help a nearby farm with a difficult horse.Cameron Rahl has had a very different relationship with animals since his mother died in a horse riding accident. But now he's inherited his family’s farm, he's determined to never let anyone affect him that way again.Until he meets Cilla. He tries to stay away from the gorgeous horse whisperer with the potential to tame him, but something keeps pulling him close. And as much as Cilla tells herself she can keep it casual, she knows they're too connected to be 'just a fling.'Will Cilla's heart win out? Or will it take history repeating itself for Cameron to realise just how much he needs her?

    from the inside.Before anyone can make sense of it, something not from this world kills a postman stranded on the other side of the door. And when the town's old evacuation sirens begin to blare, Yuri and everyone else in the building realize an impenetrable door could be the least of their worries. In fact, it could be the only thing standing between them and the otherworldly creatures roaming the now deserted streets outside...Someone in the building knows what's going on. Now, it's up to Yuri to figure out who it is, what they know, how these events are linked to their town's past, and how to lead everyone to safety - before the threats lurking outside find their way in.

    It has been fully revised and updated to include all recent developments in the subject, and contains a new chapter on terrorism as well as extensive revision of the section on state responsibility. Providing a comprehensive commentary on international law as a whole, it compares the traditional legal position with the developing and evolving law in a way that is sensitive to political and economic considerations, as well as including detailed yet accessible examinations of state responsibility and international criminal law. The late Professor Cassese was a leading figure in the field, and this new edition takes full advantage of his extensive experience to provide a more personal approach to the subject than is typically found in the standard textbook, acting as good intellectual exercise for the stronger student.The late Antonio Cassese was the Editor of the Journal of International Criminal Justice. To read sample articles from the journal visit: www.jicj.oupjournals.org

    I am 35 years old, happily married, scraping along well enough, but obsessed with the reality that I am not living the life I had always dreamt of. And then in a set of circumstances that would be unbelievable in a nickel and dime B movie, my world suddenly changes and I find myself writing scripts for and rubbing elbows with some of the biggest names in television and the movies.Me and Murder, She Wrote Glenn Ford, Lorne Greene, Sam Elliott, Rock Hudson, Robert Urich, Hal Lindon, Robert Young, Telly Savalas, Roger Moore, Robert Culp, William Devane, Robert Blake, and so many more, but especially Peter Falk and Jerry Orbach and a very special lady in my life to whom I owe a great deal, Angela Lansbury. This, then, is my career in Tinseltown, the good days and the bad, the good guys and the not-so-good, the thrilling successes and the depressing failures, all a part of the fabric of an adventure that had no right happening….but did.

    Mohana made us want to read more..."Kamy Wicoff, author and founder of She Writes.com Sita is the firstborn, but since she is a female child, her birth makes life difficult for her mother who is expected to produce a son. From the start, Sita finds herself in a culture hostile to her, but her irrepressible personality won’t be subdued. Born in India, she immigrates as a toddler to the U.S. with her parents after the birth of her much anticipated younger brother. Sita shifts between the vastly different worlds of her WASP dominated school and her father’s insular traditional home. Her journey takes us beneath tales of successful middle class Indians who immigrated to the U.S. in the 1980s. The gap between positive stereotypes of South Asian immigrants and the reality of Sita's family, who are struggling to stay above the poverty line is a relatively new theme for Indian literature in English. Sita's struggles to be American and yet herself, take us deeper into understanding the dilemmas of first generation children, and how religion and culture define women. Cover design by Law AlsobrookCover photography by Guiri R. Reyes

    Literature and film adaptations studies students will find plenty of material to support their courses and essay writing on how the film versions provide different readings of the original text. Focussing on several film versions and adaptations, the book discusses: the literary text in its historical context, key themes and dominant readings of the text, how the text is adapted for screen and how adaptations have changed our reading of the original text. There are many references to the literary text and screenplays and the book also features quotations from directors, critics and others linked with the chosen film and text.