Here is a celebration (illustrated in glorious black and white) of the best of the worst cinematic catastrophes -- the shimmering stars, the dreadful directors, and the dubious dialogue that made these movies so abysmal.Remember John Travolta as a melting monster in The Devil's Rain? Henry Fonda as a fearless bee battler in The Swarm? Mary Tyler Moore as a heartsick nun in love with Elvis Presley in Change of Habit? How about Scuttlebutt the Talking Duck in Everything's Ducky?See if you can guess the winners in each of the 30 award categories -- from The Most Obnoxious Child Performer of All Time to the Life Achievement Awards: Worst Actor, Actress, and Director. Applaud the winner in a national poll for The (very) Worst Film of All Time and The Worst Films Compendium, an annotated index of the best of the unbelievable baddies.MC'd by the Brothers Medved--Harry, author of The Fifty Worst Films of All Time, and Michael, author of What Really Happened to the Class of '65? -- The Golden Turkey Awards is a cornucopia of cinemediocrity.WARNING: Over 425 actual films are described in this book, but one is a complete hoax. Can you find it?

    "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.

    Chock full of easy to understand instructions and full color pictures for the 24 recipes included, you are sure to succeed with this book, regardless of your skill level. With a few simple ingredients, and a little bit of time, you’ll be making bath bombs in an afternoon. You’re in good hands with this quick and easy guide to showing you not only the basics, but also more fun and challenging recipes like the Fizzy Pops, designed to look like tasty cake pop treats. Taking it a step further she has also included cupcake bath bombs with a sugar scrub topping. Who wouldn't love to make these? This book can be a project for yourself, a gift for a friend, or an enhancement to your knowledge in the world of bath and body crafts. Whatever the purpose, the reader will enjoy!

    All songs are arranged with standard notation and tab for guitar, with chord symbols, full lyrics and chord boxes. Includes a generous selection of color photographs of the band in action and Gerald Scarfe illustrations. Songs include: Another Brick in the Wall * Comfortably Numb * Hey You * In the Flesh? * Is There Anybody Out There? * Mother * Run Like Hell * Young Lust * and more.

    These tales gain their power through plots that connect with the audience on both an emotional and intellectual level.Inside, Ronald B. Tobias details these 20 time-tested plots. Each is discussed and analyzed, illustrating how a successful plot integrates all the elements of a story. Tobias then shows you how to use these plots effectively in your own work.Tobias then goes to the next level, showing you how to choose and develop plot in fiction. He shows you how to craft plot for any subject matter, so that you develop your work evenly and effectively. As a result, your fiction will be more cohesive and convincing, making your story unforgettable for readers everywhere.

    What does it take to be a producer, how does one get started, and what on earth does one actually do? In So You Want to Be a Producer Lawrence Turman, the producer of more than forty films, including The Graduate, The River Wild, Short Circuit, and American History X, and Endowed Chair of the famed Peter Stark Producing Program at the University of Southern California, answers these questions and many more.Examining all the nuts and bolts of production, such as raising money and securing permissions, finding a story and developing a script, choosing a director, hiring actors, and marketing your project, So You Want to Be a Producer is a must-have resource packed with insider information and first-hand advice from top Hollywood producers, writers, and directors, offering invaluable help for beginners and professionals alike. Including a comprehensive case study of Turman’s film The Graduate, this complete guide to the movie industry’s most influential movers and shakers brims with useful tips and contains all the information you need to take your project from idea to the big screen.

    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.

    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.

    In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    A striking, design-led reference book, A-Z Great Film Directors features Andy Tuohy's portraits of 52 directors significant for their contribution to cinema including kings of world cinema Wong Kar-Wai and Akira Kurosawa, arthouse pioneers Fritz Lang and David Lynch as well as the often under-appreciated female directors Kathryn Bigelow and Jane Campion.With text by film journalist Matt Glasby, each director's entry will also have a summary of the essential things you need to know about them, why they're important, a list of their must-see films, and a surprising fact or two about them, as well as images of their key films throughout.So whether you're already a film afficionado, or looking for a helpful cheat to pass convincingly as an arthouse fan, you'll love this guide to international directors, past and present.

    and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making.In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation.Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written.Praise for Sam Wasson:"Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als

    Musical Theatre: A History presents a comprehensive history of stage musicals from the earliest accounts of the ancient Greeks and Romans, for whom songs were common elements in staging, to Jacques Offenbach in Paris during the 1840s, to Gilbert and Sullivan in England, to the rise of music halls and vaudeville traditions in America, and eventually to "Broadway's Golden Age" with George M. Cohan, Victor Herbert, Jerome Kern, George and Ira Gershwin, Rodgers and Hart, Oscar Hammerstein, Leonard Bernstein, and Andrew Lloyd Webber. The 21st century has also brought a popular new wave of musicals to the Broadway stage, from The Producers to Spamalot, and Mamma Mia! to The Drowsy Chaperone. Musical Theatre: A History covers it all, from the opening number to the curtain call, offering readers the most comprehensive and up-to-date history of the art form. As informative as it is entertaining, Musical Theatre is richly illustrated with anecdotes of shows and show people. It is cause for celebration for those working in the theatre as well as its legion of devoted fans.

    In the past decade, Hollywood has endured a cataclysm on a par with the end of silent film and the demise of the studio system. Stars and directors have seen their power dwindle, while writers and producers lift their best techniques from TV, comic books, and the toy biz. The future of Hollywood is being written by powerful corporate brands like Marvel, Amazon, Netflix, and Lego, as well as censors in China.Ben Fritz chronicles this dramatic shakeup with unmatched skill, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He dives deeply into the fruits of the Sony hack to show how the previous model, long a creative and commercial success, lost its way. And he looks ahead through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, Imax, and others to discover how they have reinvented the business. He shows us, for instance, how Marvel replaced stars with “universes,” and how Disney remade itself in Apple’s image and reaped enormous profits.But despite the destruction of the studios’ traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what our movies will look like in the new era.

    The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry.James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense.Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene--from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics--notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself.The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history--half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.

    Then, in 2012, Linda Lewis, Loretta Young’s daughter-in-law, called, urging me to finally bring this book to full life. I’ll be forever grateful to Loretta Young, a guarded woman by nature, who finally decided to tell a very personal story. In doing so, she enlisted the help of her three sisters and life-long friends. These people have all passed on, but their voices remain vividly in the present.Excerpts pertaining to Loretta’s relationship with Clark GableGable arrived at Loretta’s train compartment uninvited. She recalled,” I allowed him in as I would have any member of the crew, thinking he was there for a visit. He had other intentions. Very persistent intentions. He wasn’t rough, but I kept saying no, and he wouldn’t take no for an answer.” Loretta received a phone call from Ria Gable a few weeks later. Loretta recalled, "I was in Mama's room and I picked up the phone. Mrs. Gable said, 'This is very presumptuous of me, but you may or may not know that there are rumors flying around town about you and my husband.'”In 1998, when Loretta was eighty-five, she was watching television with Edward Funk. There was the mention of date-rape on the news, and she asked him what exactly did that mean. He explained to the best of his ability. The following day, Loretta called her daughter-in-law, Linda and said. “I know now that there was a word for what happened to me with Clark.”Clark Gable arrived on the set of THE CRUSADES. Loretta recalled, “He waited until I was through and then offered to take me home. We went for a drive up in the Hollywood Hills. He didn’t say much, but it was apparent that he was agitated. With the long silences, I felt very uncomfortable and finally felt the pressure to say something. I blurted out, ‘Would it make any difference if I told you that I wasn’t pregnant?’ He turned and looked at me and then asked, ‘Well, are you or aren’t you?’ I felt like such a fool. I didn’t know why I had said that except that I had tried to think of something to say he wanted to hear, my inherent need to please taken to an illogical length. I had to tell him that I was pregnant. His look toward me was one of total exasperation, and very little was said as he drove me home.” There would be some phone calls in the interim, but it would be more than a year before Loretta would see Clark Gable again. Loretta’s sister, Sally, "I remember taking an odd route to get there (the house in Westwood where Loretta and the baby were in hiding). My mother didn't approve that I was going at all because of all the secrecy, but I was dying to see the baby. She was very big by the time I did. I just loved her looks and kept saying, ‘Oh Loretta, I hope I have a baby that looks just like this.' In response to my enthusiasm about Judy, Loretta referred to Gable’s visit earlier in the week, the first time he had seen his daughter, and said, 'Yes, and do you know after all that has gone on, all that we've gone through, instead of having any interest in his daughter, he tried to knock me down on the bed! Can you imagine, Sally? That bastard! Who the hell does he think he is?' And I thought, 'With all that's happened, she thinks he's a bastard. He didn't understand that Loretta was a human being that had suffered very much.”Loretta acted like she couldn’t have been more flattered that MGM’s two biggest male stars (Clark Gable and Spencer Tracy) would come to see her (on the set of UNGUARDED HOUR). Under her smile she thought differently. She reflected, “I thought how different these two men were.