Seuss--The Cat in the Hat Comes Back, Dr. Seuss's ABC, Oh Say Can You Say?, Oh the Thinks You Can Think , and I Can Read with My Eyes Shut --is perfect for new parents, birthday celebrations, and happy occaisions of all kinds. Ideal for reading aloud or reading alone, it will be cherished by young and old alike. Begin a child on the adventure of a lifetime--with Beginner Books by Dr. Seuss And if you want to make a REALLY BIG impression, consider gifting this along with a copy of our first boxed set of Beginner Books, Dr. Seuss's Beginner Book Collection. The two sets combined include all ten Beginner Books by Dr. Seuss

    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.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Aspiring directors, cinematographers, editors, and producers, many of whom are now working professionals, learned the craft of visual storytelling from Shot by Shot, the most com-plete source for preplanning the look of a movie.The book contains over 800 photos and illustrations, and is by far the most comprehensive look at shot design in print, containing storyboards from movies such as Citizen Kane, Blade Runner, Dead-pool, and Moonrise Kingdom. Also introduced is the concept of A, I, and L patterns as a way to sim-plify the hundreds of staging choices facing a director in every scene.Shot by Shot uniquely blends story analysis with compositional strategies, citing examples then il-lustrated with the storyboards used for the actual films. Throughout the book, various visual ap-proaches to short scenes are shown, exposing the directing processes of our most celebrated au-teurs — including a meticulous, lavishly illustrated analysis of Steven Spielberg’s scene design for Empire of the Sun.

    In the book Wenders moves from a contemplation of pure cinema, to a consideration and analysis of his own films. Beginning with the question: Why do you make films?, Wenders expresses his own unique approach to cinema.

    Both an introduction to film study and a practical writing guide, this brief text introduces students to film terms and the major film theories, enabling them to write more critically. With numerous student and professional examples along the way, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects. Moving from movie reviews to theoretical and critical essays, the text demonstrates how an analysis of a film becomes more subtle and rigorous as part of a compositional process.

    Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

    

    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.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    Now the celebrated producer, lecturer, teacher, and bestselling author has updated his classic guide for a new generation of filmmakers, offering a fresh insider’s perspective on the film industry today. From concept to character, from opening scene to finished script, here are easily understood guidelines to help aspiring screenwriters—from novices to practiced writers—hone their craft. Filled with updated material—including all-new personal anecdotes and insights, guidelines on marketing and collaboration, plus analyses of recent films, from American Beauty to Lord of the Rings—Screenplay presents a step-by-step, comprehensive technique for writing the screenplay that will succeed in Hollywood. Discover:•Why the first ten pages of your script are crucially important•How to visually “grab” the reader from page one, word one •Why structure and character are the essential foundation of your screenplay•How to adapt a novel, a play, or an article into a screenplay•Tips on protecting your work—three legal ways to claim ownership of your screenplay•The essentials of writing great dialogue, creating character, building a story line, overcoming writer’s block, getting an agent, and much more.With this newly updated edition of his bestselling classic, Syd Field proves yet again why he is revered as the master of the screenplay—and why his celebrated guide has become the industry’s gold standard for successful screenwriting.

    Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in color, this edition features a wealth of exciting new sections and in-depth case studies.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    Its focus is on formalism - how the forms of the film create meaning. It is updated with recent films and personalities for students.

    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.