A portrait of one of America's most influential comedians analyzes the complex, sometimes disturbing world of Jerry Lewis, from his rise to fame and his philanthropic work to the dark side of his career and personal life.

    In opposition to these positions, Modleski asserts that Hitchcock is deeply ambivalent towards his female characters. The Women Who Knew Too Much examines both the director's complex attitude toward femininity, and the implications of that attitutde for the audience. The book represents a significant contribution to the debates in film theory around the issue of gender and film spectatorship; in particular, it seeks to complicate the view that women's response to patriarchal cinema can only be masochistic, while men's response is necessarily sadistic.Applying the theories of psychoanalysis, mass culture, and a broad range of film (and) feminist criticism, Modleski offers compelling readings of seven Hitchcock films from various periods in his career.

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    A place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life. Eddie Muller, who led readers on a guided tour of the seamier side of motion pictures in Grindhouse: The Forbidden World of 'Adults Only' Cinema, now takes us on a spellbinding trip through treacherous terrain: Hollywood in the post-World War II years, when art, politics, scandal, style--and brilliant craftsmanship--produced a new approach to moviemaking, and a new type of cultural mythology. Dark City is a 1999 Edgar Award Nominee for Best Critical / Biographical Work.

    In this new edition, Kim Newman brings his seminal work completely up-to-date, both reassessing his earlier evaluations and adding a second part that assess the last two decades of horror films with all the wit, intelligence and insight for which he is known. Since the publication of the first edition, horror has been on a gradual upswing, and taken a new and stronger hold over the film industry.Newman negotiates his way through a vast back-catalogue of horror, charting the on-screen progress of our collective fears and bogeymen from the low budget slasher movies of the 60s, through to the slick releases of the 2000s, in a critical appraisal that doubles up as a genealogical study of contemporary horror and its forebears. Newman invokes the figures that fuel the ongoing demand for horror - the serial killer; the vampire; the werewolf; the zombie - and draws on his remarkable knowledge of the genre to give us a comprehensive overview of the modern myths that have shaped the imagination of multiple generations of cinema-goers.Nightmare Movies is an invaluable companion that not only provides a newly updated history of the darker side of film but a truly entertaining guide with which to discover the less well-trodden paths of horror, and re-discover the classics with a newly instructed eye.

    In 1917, a fifteen-year-old Bankhead boldly left her established Alabama political family and fled to New York City to sate her relentless need for attention and become a star. Five years later, she crossed the Atlantic, immediately taking her place as a fixture in British society and the most popular actress in London's West End. By the time she returned to America in the 1930s, she was infamous for throwing marathon parties, bedding her favorite costars, and neglecting to keep her escapades a secret from the press. At times, her notoriety distracted her audience from her formidable talent and achievements on stage and dampened the critical re-sponse to her work. As Bankhead herself put it, "they like me to 'Tallulah,' you know -- dance and sing and romp and fluff my hair and play reckless parts." Still, her reputation as a wild, witty, over-the-top leading lady persisted until the end of her life at the age of sixty-six.From her friendships with such entertainment luminaries as Tennessee Williams, Estelle Winwood, Billie Holiday, Noël Coward, and Marlene Dietrich, to the intimate details of her family relationships and her string of doomed romances, Joel Lobenthal has captured the private essence of the most public star during theater's golden age. Larger-than-life as she was, friends saw through Bankhead's veneer of humor and high times to the heart of a woman who often felt second-best in her father's eyes, who longed for the children she was unableto bear, and who forced herself into the spotlight to hide her deep-seated insecurities.Drawn from scores of exclusive interviews, as well as previously untapped information from Scotland Yard and the FBI, this is the essential biography of Tallulah Bankhead. Having spent twenty-five years researching Bankhead's life, Joel Lobenthal tells her unadulterated story, as told to him by her closest friends, enemies, lovers, and employees. Several have broken decadelong silences; many have given Lobenthal their final interviews. The result is the story of a woman more complex, more shocking, and yet more nuanced than her notorious legend suggests.

    Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter. To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

    If the gore epics, women-in-prison films, and shockumentaries showcased within their mildewed walls didn't live up to their outrageous billing, the audience shouted, threw food, and even vandalized the theaters. For dedicated lovers of extreme cinema, buying a movie ticket on the Deuce meant putting your life on the line. Authors Bill Landis and Michelle Clifford came to know those grindhouses better than anyone else, and although the theaters were gone by the mid-1980s, the films remained. In Sleazoid Express, Landis and Clifford reproduce what no home video can -- the experience of watching an exploitation film in its original fight-for-your-life Deuce setting. Both a travelogue of the infamous grindhouses of yore and a comprehensive overview of the sleaze canon, Sleazoid Express offers detailed reviews of landmark exploitation classics and paints intimate portraits of directors whose notorious creations played the back end of triple bills for years on end. With wit, intelligence, and an unflinching eye, Landis and Clifford offer the definitive document of cinema's most intense and shocking moments as they came to life at a legendary place.

    Here are the outrageous memoirs of an American original whose life was every bit as outlandish as his movies. Photographs. Filmography.

    Most of them stunk. With over 2500 reviews on the Horror Movie A Day website, finding the worthwhile ones can be a chore, so Collins has curated a selection of choice films - 365 of them in fact, one for every day of the year. Each month has a different theme and offers a variety of films within that theme for your viewing enjoyment. Every movie is someone's favorite movie - perhaps this book will introduce you to yours.

    . . . The material interestingly helps clarify Fellini's film work, and his fans will enjoy this stimulating and intellectual 'biography.'"--Library JournalOne of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body of work evokes Pirandello, existentialism, "the silence of God," as well as show business. Critics have accused him of being a charlatan, hypocrite, clown, and demon, and have hailed him as a magician, poet, genius, and prophet. Fellini on Fellini is a fascinating collection of his articles, interviews, essays, reminiscences, and table talk, carefully arranged to chart the progress of his life and work. There are boyhood memories of his hometown, Remini, and his highly improbable beginnings as a scriptwriter for Rossellini; letters to Jesuit priests and Marxist critics defending his first international success, La Strada; anecdotes and revelations about the making of La Dolca Vita, 8 1/2, and The Clowns; and insights into all aspects of filmmaking. Here, Fellini reveals, as no one else can, a rich digest of his brilliant and controversial career.

    The author recalls the '50s, when the invasion of movie houses by monsters became a national youth craze. 140 photos.

    From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

    These women infiltrated the all-male domain of Disney Studios and used early technologies to create the rich artwork and iconic storylines that would reach millions of viewers across generations. Over the decades--while battling sexism, domestic abuse, and workplace harassment--these women also fought to influence the way female characters are depicted to young audiences.Based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation tells the story of their vital contribution to Disney's golden age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film.