This book argues that in several respects Kubrick was one of the cinema's last modernists.

    . . The book as a whole offers a fascinating look at how this movie tells a timeless story.” —The Washington PostMrs. Robinson, you’re trying to seduce me. Aren’t you? When The Graduate premiered in December 1967, its filmmakers had only modest expectations for what seemed to be a small, sexy art-house comedy adapted from an obscure first novel by an eccentric twenty-four-year-old. There was little indication that this offbeat story—a young man just out of college has an affair with one of his parents’ friends and then runs off with her daughter—would turn out to be a monster hit, with an extended run in theaters and seven Academy Award nominations. The film catapulted an unknown actor, Dustin Hoffman, to stardom with a role that is now permanently engraved in our collective memory. While turning the word plastics into shorthand for soulless work and a corporate, consumer culture, The Graduate sparked a national debate about what was starting to be called “the generation gap.” Now, in time for this iconic film’s fiftieth birthday, author Beverly Gray offers up a smart close reading of the film itself as well as vivid, never-before-revealed details from behind the scenes of the production—including all the drama and decision-making of the cast and crew. For movie buffs and pop culture fanatics, Seduced by Mrs. Robinson brings to light The Graduate’s huge influence on the future of filmmaking. And it explores how this unconventional movie rocked the late-sixties world, both reflecting and changing the era’s views of sex, work, and marriage.

    In this free collection of excerpts, enjoy a taste of all of Vince Flynn’s thrillers starring CIA superagent Mitch Rapp.

    In leader David Miscavige's inner sanctum, they built their mental prison as they melded into its radicalized lifestyle where danger, captivity and abuse were normalized. After three escapes, Karen chose between two unbearable options. Escaping Scientology Part I sweeps you into the lives of two young adults filled with hope and love as designer Karen and her award-winning musician-composer husband Peter overcome obstacles to succeed in the music and fashion industries together. Scientology re-focuses their goals toward the importance of clearing the planet and recruiting celebrities to build Scientology's social capital. Karen portrays the basic beliefs of Scientology that led to her radicalization into the Sea Org at the Celebrity Centre, a fortress where artists aspire to achieve greatness while attaining spiritual freedom through L. Ron Hubbard’s teachings. Karen shows how celebrities are lured into Scientology and develop a co-dependent relationship from which few break out. Part II reveals Karen as a flawed and complex woman when she and Peter move to the secretive International Management headquarters, where they join 800 fanatical Sea Org members that made billion-year commitments to make this a Scientology world without war, criminality, or insanity. Karen finds the dystopian outpost and its global operations to be proof that Time magazine’s 1991 article, “The Thriving Cult of Greed and Power” captures the essence of Scientology’s mindset, that she describes as “war is everything and everything is war.” She is no passive victim as she attempts to stay in the driver’s seat and keep their marriage intact while fighting the pressures of the Int base culture that attempt to break them apart. Scientology goes under “Cruise Control” as Miscavige becomes obsessed with his biggest trophy, Tom Cruise, and stiffens his control and abusive punishment methods on the Int base staff. Karen rebels against regulations and spends time in Scientology’s prison camp. After two attempts to escape the Int base, she is trailed by security guards and coerced into returning. Failing to escape, she questions the evidence of her own senses, and makes a mind-twisting re-commitment to become the best version of a Sea Org member she can be. Karen carves out a world she can live within as she is promoted into the highest echelons of management, appointed by the Chairman of the Board RTC to Int Management Public Relations Officer and later to take charge of the image of Sea Org staff internationally from the Int Finance Office. While working on special projects under David and Shelley Miscavige, she travels to Scientology bases around the world where she sees human rights violations set in place by Hubbard’s policies that cause her to conclude Scientology is a for-profit business that builds billions of dollars of assets on the backs of Sea Org slave labor, while hiding behind the banner of the First Amendment, claiming benefits and protection as a non-profit religion. The epilogue of Part III portrays the mind-wrenching process of physical escape, and psychological anguish as Karen plies herself out of Scientology’s grip and endures its cruel disconnection policy. She re-acclimates herself to life on the outside while, brick by brick, she disassembles the walls of the mental prison she had built, and survives with the help of her accomplice and the love and support of her family. Karen's narrative memoir shows that Scientology's plan, authored by L.

    In this comprehensive guidebook, three experienced entertainment lawyers tell you everything you need to know to produce and market an independent film-from the development process to deal making, financing, setting up the production, hiring directors and actors, distributing and marketing your film.

    Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was--a rather disappointing film musical.In Roadshow!, film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly! and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War.From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow! offers a brilliant, gripping history of film musicals and their changing place in our 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.

    But how much of what you see on the screen is true? And does it really matter if filmmakers just make it all up? Picking her way through Hollywood's version of events, acclaimed historian Alex von Tunzelmann sorts the fact from the fiction. Along the way, we meet all our favourite historical characters, on screen and in real life: from Cleopatra to Elizabeth I, from Spartacus to Abraham Lincoln, and from Attila the Hun to Nelson Mandela.Based on the long-running column in the Guardian, Reel History takes a comic look at the history of the world as told through the movies - the good, the bad, and the very, very ugly.

    They were the salons where many of today’s best directors first learned their craft. The art of discovery that video stores encouraged through the careful curation of clerks was the fertile, if sometimes fetid, soil from which today’s film world sprung. Video stores were also the financial engine without which the indie film movement wouldn’t have existed.In I Lost it at the Video Store, Tom Roston interviews the filmmakers—including John Sayles, Quentin Tarantino, Kevin Smith, Darren Aronofsky, David O. Russell and Allison Anders—who came of age during the reign of video rentals, and constructs a living, personal narrative of an era of cinema history which, though now gone, continues to shape film culture today.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    Despite his on-screen persona, Niven wasn’t always the perfect gentleman. He was insecure both privately and professionally and used people to get ahead. But he did, he said, ‘at least try to be a decent man.’ He knew he often failed, although it isn’t easy to find people who ever had a bad word to say about him. In this fascinating biography of the star, Munn looks at the funny stories and the sad underlying truth, from his outrageous days with Errol Flynn and their irrevocable split –‘You always know where you are with Flynn. He always lets you down’ – and numerous affairs with stars and prostitutes, to an attempted suicide, his horrific experiences in war-torn France and the breakdown and blame of his second marriage. This compelling text includes interviews with his second wife, Hjordis, John Huston, Rex Harrison, Laurence Olivier, Loretta Young (they discussed marriage once), Niven’s long-time friend Michael Trubshawe, Peter Ustinov, Ava Gardner and many more.

    It's not likely to be advice you'll hear from anyone else. It is only about an hour to read, but the concepts will ring in your ears for years. [From the Book's Introduction] Many people have been incredibly generous to me throughout the first decade of my career. To return that good karma, I try to pay it forward… to be open and available for people who ask me for insight or advice or just have questions about where to go next. I find myself having many conversations about career decisions. Recently, many of these conversations have repeating many of the same pieces of advice. Over the years I’ve gotten enough positive feedback that publishing these thoughts seems worthwhile. After our conversations I’m often told that this advice was unique, counterintuitive, and valuable. That is a high compliment. And if more people would think the same, then I should put these thought somewhere more scalable and accessible. So, I’ve written them down here.

    Come for the trials, tribulations, and trivia! Stay for the mysteries, magic, and mayhem! You’ll go behind the scenes for the sordid scandals, biggest bombs, greatest triumphs, and the unsung heroes who make it all come together. Featuring quotes, puzzles, quizzes, and Uncle John’s famous “running feet” facts at the bottom of every page, this book will give you a new appreciation for the Silver Screen (and you’ll know exactly what a gaffer and best boy do). What else is in here? Check out these previews!Bad boys on locationThe origin of VarietyThe biggest cult movie of all timeThe “Blond Bombshell Murder Mystery”How Ray Harryhausen brought fantasies to lifeWretched reviews (for what are now considered great films)The strange Pink Floyd and Wizard of Oz connectionThe “Taglines of Terror” quizBathrooms on the big screenUnfortunate remakesHaunted HollywoodAnd much, much more!

    But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick S�skind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

    As war raged on in Vietnam and the cold war continued to escalate, Hollywood began to heat up, recovering from its commercial crisis with box-office successes such as Star Wars, Jaws, The Exorcist, and The Godfather. Thanks to directors like Spielberg and Lucas, American cinema gave birth to a new phenomenon: the blockbuster. Meanwhile, across the Atlantic, while the Nouvelle Vague died out in France, its influence extended to Germany, where the New German Cinema of Fassbinder, Wenders, and Herzog had its heyday. The sexual revolution made its way to the silver screen (cautiously in the US, more freely in Europe) most notably in Bertolucci's steamy, scandalous Last Tango in Paris. Amidst all this came a wave of nostalgic films (The Sting, American Graffiti) and Vietnam pictures (Apocalypse Now, The Deer Hunter), the rise of the anti-hero (Robert De Niro, Al Pacino, Dustin Hoffman), and the prestigious short-lived genre, blaxploitation.