Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    Content is the first collection of Doctorow’s infamous articles, essays, and polemics.Here’s why Microsoft should stop treating its customers as criminals (through relentless digital-rights management); how America chose copyright and Happy Meal toys over jobs; why Facebook is taking a faceplant; how Wikipedia is a poor cousin of The Hitchhiker’s Guide to the Galaxy; and, of course, why free e-books kick ass.Accessible to geeks and noobs (if you’re not sure what that means, it’s you) alike, Content is a must-have compilation from Cory Doctorow, who will be glad to take you along for the ride as he effortlessly surfs the zeitgeist.

    Charting celebrities from rehab to retox, to jails, cults, institutions, near-death experiences and the Democratic Party, Hollywood, Interrupted takes readers on a surreal field trip into the amoral belly of the entertainment industry. Each chapter -- covering topics including warped Hollywood child-rearing, bad medicine, hypocritical political maneuvering and the complicit media -- delivers a meticulously researched, interview-infused, attitude heavy dispatch which analyzes and deconstructs the myths created by the celebrities themselves.Celebrities somehow believe that it's their god-given right to inflict their pathology on the rest of us. Hollywood, Interrupted illustrates how these dysfunctional dilettantes are mad as hell... And we're not going to take it any more.

    To critics, it was either "a degrading, senseless misuse of film and time" or "an intelligent, absorbing and deeply disturbing horror film." However it was an immediate hit with audiences. Banned and celebrated, showcased at the Cannes film festival and included in the New York MoMA's collection, it has now come to be recognized widely as one of the greatest horror movies of all time.A six-foot-four poet fresh out of grad school with limited acting experience, Gunnar Hansen played the masked, chain-saw-wielding Leatherface. His terrifying portrayal and the inventive work of the cast and crew would give the film the authentic power of nightmare, even while the gritty, grueling, and often dangerous independent production would test everyone involved, and lay the foundations for myths surrounding the film that endure even today.Critically-acclaimed author Hansen here tells the real story of the making of the film, its release, and reception, offering unknown behind-the-scenes details, a harrowingly entertaining account of the adventures of low-budget filmmaking, illuminating insights on the film's enduring and influential place in the horror genre and our culture, and a thoughtful meditation on why we love to be scared in the first place.

    He has been a reviewer since 1965 (long for Time magazine), has written almost forty books on the subject, and has produced and directed thirty documentaries. He has counted as personal friends many of the leading filmmakers of the twentieth century. Call it “obsession,” “lunacy,” or a “grand passion” (Schickel grants all three), but there’s simply no one who knows film better. Now Schickel gives us the ultimate summing up: a history of film as he’s seen—and lived—it, a tour of his favorites, a master class in what makes a film soar or flop. Schickel’s no-holds-barred, often raucously irreverent opinions can range from panning classics, to spotlighting forgotten treasures, to defending the art of “popular” genres such as horror, westerns, screwball comedy, and noir. Beyond his picks and pans, Schickel offers a wealth of behind-the-scenes anecdotes (a love note from Marlene Dietrich, Frank Capra’s unlikely path to success, Annie Hall’s original title), career studies of our greatest performers and auteurs, and candidly intimate glimpses of his own life in pictures (an evening with Greta Garbo, John Ford’s advice on directing, a “dust-up” in defense of Monty Python). Above all, Schickel gives us a collection of the true gems, the immortal moments that have stuck with him over a lifetime of movie watching—the transcendent scenes, characters, lines, shots, scores, even lighting cues that offer, each in their way, pure “movie magic.” Buster Keaton, His Girl Friday, Ingrid Bergman, Taxi Driver, Star Wars, Stanley Kubrick, Pulp Fiction—Schickel reveals all the films and the forces behind them that have kept him coming back for more. An essential addition to any cinephile’s library, Keepers is the curation of a brilliant connoisseur and critic, but more than that, it’s a love letter to film from one of its most dedicated devotees.

    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 is a biography of the ascerbic and witty film critic Pauline Kael.

    I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    Embraced as a cultural touchstone, the 1993 film would also make Matthew McConaughey’s famous phrase—alright, alright, alright—ubiquitous. But it started with a simple idea: Linklater thought people might like to watch a movie about high school kids just hanging out and listening to music on the last day of school in 1976.    To some, that might not even sound like a movie. But to a few studio executives, it sounded enough like the next American Graffiti to justify the risk. Dazed and Confused underperformed at the box office and seemed destined to disappear. Then something weird happened: Linklater turned out to be right. This wasn’t the kind of movie everybody liked, but it was the kind of movie certain people loved, with an intensity that felt personal. No matter what their high school experience was like, they thought Dazed and Confused was about them.Alright, Alright, Alright is the story of how this iconic film came together and why it worked. Combining behind-the-scenes photos and insights from nearly the entire cast, including Matthew McConaughey, Parker Posey, Ben Affleck, Joey Lauren Adams, and many others, and with full access to Linklater’s Dazed archives, it offers an inside look at how a budding filmmaker and a cast of newcomers made a period piece that would feel timeless for decades to come.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    Professor Barsam's clear writing, thorough presentation of fundamental film principles, and unique pedagogical additions to the traditional introductory text-- including an entire chapter devoted to analytical writing-- ensure that students approach screenings and writing assignments equipped with the analytical tools necessary to be active, insightful interpreters of movies. "Looking at Movies" is accompanied by two outstanding multimedia resources, the Student website and CD-ROM, both of which are integrated directly with the text.

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    And the stars of yesteryear? They weren’t always the saints that we make them out to be. BuzzFeed’s Anne Helen Petersen, author of Too Fat, Too Slutty, Too Loud, is here to set the record straight. Pulling little-known gems from the archives of film history, Petersen reveals eyebrow-raising information, including:*The smear campaign against the original It Girl, Clara Bow, started by her best friend *The heartbreaking story of Montgomery Clift’s rapid rise to fame, the car accident that destroyed his face, and the “long suicide” that followed *Fatty Arbuckle’s descent from Hollywood royalty, fueled by allegations of a boozy orgy turned violent assault *Why Mae West was arrested and jailed for “indecency charges” *And much more Part biography, part cultural history, these stories cover the stuff that films are made of: love, sex, drugs, illegitimate children, illicit affairs, and botched cover-ups. But it’s not all just tawdry gossip in the pages of this book. The stories are all contextualized within the boundaries of film, cultural, political, and gender history, making for a read that will inform as it entertains. Based on Petersen’s beloved column on the Hairpin, but featuring 100% new content, Scandals of Classic Hollywood is sensationalism made smart.

    His foremost interpreter revisits more than forty years of listening to Dylan?weaving individual moods and moments into a brilliant history of their changing times

    It's one of the most revered movies of Hollywood's golden era. Starring screen legend Gary Cooper and Grace Kelly in her first significant film role, High Noon was shot on a lean budget over just thirty-two days but achieved instant box-office and critical success. It won four Academy Awards in 1953, including a best actor win for Cooper. And it became a cultural touchstone, often cited by politicians as a favorite film, celebrating moral fortitude.Yet what has been often overlooked is that High Noon was made during the height of the Hollywood blacklist, a time of political inquisition and personal betrayal. In the middle of the film shoot, screenwriter Carl Foreman was forced to testify before the House Committee on Un-American Activities about his former membership in the Communist Party. Refusing to name names, he was eventually blacklisted and fled the United States. (His co-authored screenplay for another classic, The Bridge on the River Kwai, went uncredited in 1957.) Examined in light of Foreman's testimony, High Noon's emphasis on courage and loyalty takes on deeper meaning and importance.In this book, Pulitzer Prize-winning journalist Glenn Frankel tells the story of the making of a great American Western, exploring how Carl Foreman's concept of High Noon evolved from idea to first draft to final script, taking on allegorical weight. Both the classic film and its turbulent political times emerge newly illuminated.