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.

    Includes excerpts from Stephen Ambrose's books, screenplay extracts, and commentary by Steven Spielberg, Tom Hanks, Matt Damon, Janusz Kaminski and others. 100 illustrations, 130 color plates.

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    It is aimed at the novice, concentrating purely on the principles of shooting - still the best way to tell a visual story.Written in simple, easy-to-follow language and illustrated with clear uncomplicated line drawings, the book sets down the fundamental knowledge needed to achieve acceptable results.The book: - is a sister volume to Grammar of the Edit- has been extensively tested in Europe, Asia and Africa- lists, examines and explains the conventions and working practices of taking pictures.

    In this first collection of Harlan Ellison's cinema criticism (with expanded, never-before-collected articles as well as an essay written especially for this volume) come from the darkened interiors of a thousand movie houses where this most peculiar of all Observers of the Passing Scene has spent much of his life. The view is guaranteed to make you grind your teeth in anger, nod your head in blessed agreement, and open your eyes in a manner of judging films that is definitely not plebeian. Harlan Ellison's love affair with movies is obvious. As an essayist, he has no equal; as a film critic he has no friends. Take care.

    In this widely acclaimed work, Benedict Anderson examines the creation and global spread of the 'imagined communities' of nationality.Anderson explores the processes that created these communities: the territorialization of religious faiths, the decline of antique kingship, the interaction between capitalism and print, the development of vernacular languages-of-state, and changing conceptions of time. He shows how an originary nationalism born in the Americas was modularly adopted by popular movements in Europe, by the imperialist powers, and by the anti-imperialist resistances in Asia and Africa.This revised edition includes two new chapters, one of which discusses the complex role of the colonialist state's mindset in the develpment of Third World nationalism, while the other analyses the processes by which, all over the world, nations came to imagine themselves as old.

    In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the -central-conflict theory.- Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    Six creative and practical principles illuminate this safari of self and spirit - gratitude, simplicity, order, harmony, beauty, and joy. This adaptation of the New York Times #1 best seller will help you to discover how daily life can become an expression of your authentic self.

    Beginning with approaches that students are already familiar with and then moving to less common schools of criticism, Theory into Practice provides extensive guidance for writing literary analyses from each of the critical perspectives.

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

    This restoration project has yielded a collection to treasure. After years of hard work and preparation, we can only report that it is an emotionally thrilling moment to finally offer to the general public. Claude Frédéric Bastiat was an economist and publicist of breathtaking intellectual energy and massive historical influence. He was born in Bayonne, France on June 29th, 1801. After the middle-class Revolution of 1830, Bastiat became politically active and was elected Justice of the Peace in 1831 and to the Council General (county-level assembly) in 1832. He was elected to the national legislative assembly after the French Revolution of 1848. Bastiat was inspired by and routinely corresponded with Richard Cobden and the English Anti-Corn Law League and worked with free-trade associations in France. Bastiat wrote sporadically starting in the 1830s, but in 1844 he launched his amazing publishing career when an article on the effects of protectionism on the French and English people was published in the Journal des Economistes which was held to critical acclaim. The bulk of his remarkable writing career that so inspired the early generation of English translators and so many more is contained in this collection. If we were to take the greatest economists from all ages and judge them on the basis of their theoretical rigor, their influence on economic education, and their impact in support of the free-market economy, then Frédéric Bastiat would be at the top of the list. These volumes bring together his greatest works and represents the early generation of English translations. These translators were like Bastiat himself, people from the private sector who had a love of knowledge and truth and who altered their careers to vigorously pursue intellectual ventures, scholarly publishing, and advocacy of free trade. The collection consists of three sections, the first of which contains his best-known essays. In That Which is Seen, and That Which is Not Seen, Bastiat equips the reader to become an economist in the first paragraph and then presents the story of the broken window where a hoodlum is thought to create jobs and prosperity by breaking windows. Bastiat solves the quandary of prosperity via destruction by noting that while the apparent prosperity is seen, what is unseen is that which would have been produced had the windows not been broken. The second section is Bastiat s Economic Sophisms, a collection of 35 articles on the errors of protectionism broadly conceived. Here Bastiat shows his mastery of the methods of argumentation, using basic logic and taking arguments to their logical extreme to demonstrate and ridicule them as obvious fallacies. In his Negative Railroad Bastiat argues that if an artificial break in a railroad causes prosperity by creating jobs for boatmen, porters, and hotel owners, then there should be not one break, but many, and indeed the railroad should be just a series of breaks a negative railroad. The third section is Bastiat's Economic Harmonies which was hastily written before his death in 1850 and is considered incomplete. Here he demonstrates that the interests of everyone in society are in harmony to the extent that property rights are respected. Because there are no inherent conflicts in the market, government intervention is unnecessary. Here we find a powerful but sadly neglected defense of the main thesis of old-style liberalism: that society and economy are capable of self-managing. Unless this insight is understood and absorbed, a person can never really come to grips with the main meaning of liberty.

    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.

    From what was wrong with the pilot to what was right with the Reavers, from the use of Chinese to how correspondence between Joss and network executives might have gone, from a philosopher’s perspective on “Objects in Space” to a sex therapist’s analysis of Inara, Finding Serenity is filled with writing as exciting, funny and enthralling as the show itself.