Lynch's unique universe of the "ridiculous sublime" is interpreted as a simultaneous playful staging and traversing of the fundamental ideological fantasies that sustain our late capitalist society.A master of reversals, Zizek invites the reader to reexamine with him easy assumptions, received opinion, and current critical trends, as well as pose tough questions about the ways in which we understand our world and culture. He offers provocative readings of Casablanca, Schindler's List, and Life Is Beautiful in the process of examining topics as diverse--and as closely linked--as ethics, politics, and cyberspace.

    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.

    Both a history of film theory and an introduction to the work of the most important writers in the field, Andrew's volume reveals the bases of thought of such major theorists as Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, and Metz.

    Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

    When Rob's busy schedule leaves Sheila longing for love and affection, she falls into the arms of Jason, her husband’s brother.Jason is the handsome and powerful heir to The Young Family Empire. He has been married to his beautiful wife Karen for three years. He loves her and treats her like a queen, but lately, he seeks adventure. When he begins an affair with Sheila he finds out she is just the adventure he needs.After they decide they will keep their affair going, Jason creates some rules they both swear to abide by: Rule number one, our spouses come first. Rule number two, no falling in love, because I will never leave my wife. Rule number three, if anything starts to change or one of us breaks a rule, we end the affair. But when the rules get broken and secrets they both never could have imagined are exposed, the real drama begins. How far will Jason and Sheila go to protect and keep their affair going? In this Three Book Box Set, Readers Will Enjoy Over 100,000 words of page-turning drama and explosive love scenes!

    

    She tries to distance herself from the game by getting a degree and trying to do something positive with her life. When the system takes her older brother prisoner and death’s knock takes her daddy and her other brother away from her, those beliefs are more evident than ever. Never knowing her mother, since she died during her delivery of Fawn, Fawn feels all alone in this world aside from having her best friend, Amiko. Still reeling from the loss of her father, she is confronted by his right-hand man to learn she controls her daddy’s empire. Although she wants no part of the street-life, he’s able to convince her to attend a meeting that will change her life forever. Meeting Lark ‘Law’ Gutierrez makes Fawn want to reevaluate all her life choices. The only problem is that he is kingpin in the streets of Laredo. It’s like she can’t escape the streets that have taken her family, because something about Law is pulling her to him like a fish on a hook. He shares her sentiments. This meeting forces her to take some sort of control of her father’s empire, and she soon learns that the hate that took her family from her isn’t over. As she and Lark become close, she realizes that he has her back in more ways than one, and will protect her, whatever the cost of that may be. Can she withstand the grit of the street-life and hang on to what she’s built with Lark? Or will it overtake her and swallow her whole?

    Private investigator Tom Bennett's daughter was kidnapped ten years ago. As he attempts to find solace, a series of unexpected phone calls lead him down a dark and desperate path. Against the better judgment of his partner, therapist, and ex-wife, he digs into past suspects that he had previously given up on. Vengeful parents? Ruthless drug syndicate he had stripped apart and put behind bars? Or an entirely new suspect he’d missed? One new question, one new answer. Pull the thread and follow Tom on his journey of heartache as he stops at nothing to get his daughter back.

    After fifteen years of marriage, Kameron is demanding a divorce on the night of their anniversary, leaving Camille shattered and confused. Needing a relief from the pain and anger that seems to now live where her heart once lived, Camille finds herself in the bed of a handsome stranger. Despite her one night of unforgettable relief, Camille runs for the hill the next morning, making sure not to awaken the man that she only knows by the name of, DJ. Even after things between Camille and Kameron comes to an end, Kameron continues to shake her world with his lies and betrayals. Dion ‘DJ’ Roberts is a twenty-five-year-old NFL quarterback, who had made up in his mind that he is done with love and relationships. After learning the woman that he once loved, loved the money and fame more than him, DJ vowed to never be weakened by the four letter word again. To DJ, the only woman that was worth loving is his sister, until a one-night stand left him wondering… On a night out in the town, DJ and Camille finds themselves in the same club, and neither had not forgotten one detail of the night of passion they shared together. This time, DJ refused to let the lovely Camille disappear without a trace. Even though Camille is finally now divorced, her life is still far from drama free. Will DJ be able to put the broken pieces of Camille’s heart back together, or will his own trust issues alone with obstacles in the form of people make them both walk away, sticking to their vows to never love again?

    1946) is perhaps the best known of all cult directors, whose Mulholland Drive marks cinema's arrival to the 21st century. His career began more than 30 years ago, with the groundbreaking, mystifying "Eraserhead" (1977). With "Blue Velvet" (1986), "Wild at Heart" (1990) and "Lost Highway" (1997) Lynch breathed new life into the sensory experiences of film audiences and disrupted narrative logic to mysterious and mystifying effect. In the early 1990s, he invented a new TV series genre with "Twin Peaks". Although he is a Hollywood director, Lynch works at the edges of the studio system, exploring the many facets of his artistic talent, whose creations, including photography, painting and music, are now making their way into museums and galleries.

    The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.

    Now you can share in the Master of Suspense's inspiration and development -- his entire creative process -- in Hitchcock's Notebooks.With the complete cooperation of the Hitchcock estate and access to the director's notebooks, journals, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production and publicity. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and Hitchcock's personal assistant of more than thirty years.Mirroring the director's working methods to give you the actual feel of his process, and highlighted by nearly nearly one hundred photographs and illustrations, this is the definitive guide into the mind of a cinematic legend.

    The radical complexity of his work--in both sound and silent forms--has given it a central place within contemporary theoretical inquiry. Vertov's writings, collected here, range from calculated manifestos setting forth his heroic vision of film's potential to dark ruminations on the inactivity forced upon him by the bureaucratization of the Soviet state.

    . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinéma: langue ou langage?'"—Geoffrey Nowell-Smith, Times Literary Supplement"Modern film theory begins with Metz."—Constance Penley, coeditor of Camera Obscura"Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [Film Language] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."—Stephen Heath, Screen

    Hugely prolific in his first decade--Breathless, Contempt, Pierrot le Fou, Alphaville, and Made in USA are just a handful of the seminal works he directed--Godard introduced filmgoers to the generation of stars associated with the trumpeted sexuality of postwar movies and culture: Brigitte Bardot, Jean Seberg, Jean-Paul Belmondo, and Anna Karina.As the sixties wore on, however, Godard's life was transformed. The Hollywood he had idolized began to disgust him, and in the midst of the socialist ferment in France his second wife introduced him to the activist student left. From 1968 to 1972, Europe's greatest director worked in the service of Maoist politics, and continued thereafter to experiment on the far peripheries of the medium he had transformed. His extraordinary later works are little seen or appreciated, yet he remains one of Europe's most influential artists.Drawing on his own working experience with Godard and his coterie, Colin MacCabe, in this first biography of the director, has written a thrilling account of the French cinema's transformation in the hands of Truffaut, Rohmer, Rivette, and Chabrol--critics who toppled the old aesthetics by becoming, legendarily, directors themselves--and Godard's determination to make cinema the greatest of the arts.