Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analyzed with depth and clarity. Entries include: * auteur theory* Blaxploitation* British New Wave* feminist film theory* intertextuality* method acting* pornography* Third World Cinema* Vampire movies.

    The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.

    There's nothing cool about Céline Dion, and nothing clever. That's part of her appeal as an object of love or hatred — with most critics and committed music fans taking pleasure (or at least geeky solace) in their lofty contempt. This book documents Carl Wilson's brave and unprecedented year-long quest to find his inner Céline Dion fan, and explores how we define ourselves in the light of what we call good and bad, what we love and what we hate.

    Addressing some of the key questions of film theory, spectatorship, and narrative, Laura Mulvey here argues that such technologies, including home DVD players, have fundamentally altered our relationship to the movies. According to Mulvey, new media technologies give viewers the ability to control both image and story, so that movies meant to be seen collectively and followed in a linear fashion may be manipulated to contain unexpected and even unintended pleasures. The individual frame, the projected film’s best-kept secret, can now be revealed by anyone who hits pause. Easy access to repetition, slow motion, and the freeze-frame, Mulvey argues, may shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in film. By exploring how technology can give new life to old cinema, Death 24x a Second offers an original reevaluation of film’s history and its historical usefulness.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    Where previously the old revolutionary sought to conduct a struggle between real forces in the context of ideology and politics, the new terrorist mounts a powerful symbolic challenge which, when combined with high-tech resources, constitutes an unprecedented assault on an over-sophisticated and vulnerable West. This revised edition is updated with the essays Hypotheses on Terrorism and Violence of the Global.

    It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge."—Christian Science Monitor"Haskell is interested in women—how they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche and even, lately, women's lib."—Jane Kramer, Village Voice"In examining the goddesses worshipped by an entire nation, Molly Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditorium—sexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent."—Harriet Kriegel, The Nation

    When I m alone I am haunted by my truth. A girl who entered this world in a jail cell. A girl who was served struggle with a side of pain on a broken platter. A girl who was thrown into a tank with sharks deep in a world whose motto is to eat or be eaten. I can still see the dirt underneath my nails; I've fought too hard to get where I am and I don t plan on looking back. However, there s always someone waiting to knock me down because they don t think I deserve it. Well I say to hell with them. I've put in too much to allow anyone to drag me down. So either you re riding with me or against me...

    Through these incisive, perceptive, and poignant essays, readers will gain unique insight into the narratives behind the litany of grim destruction broadcasted nightly on the news, as well as deeper understanding of the conflict as experienced by the people who live in the occupied territories. Together, these stories stand witness to the human cost of the occupation.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    This revised edition includes analyses of the latest trends in Japanese cinema, such as the revival of the horror genre, and introduces today's up-and-coming directors and their works.As Paul Schrader writes in his perceptive foreword, Richie's accounting of the Japanese film "retains his sensitivity to the actual circumstances of film production (something filmmakers know very well but historians often overlook) . . . and shows the interweave of filmmaking-the contributions of directors, writers, cinematographers, actors, musicians, art directors, as well as financiers."Of primary interest to those who would like to watch the works introduced in these pages, Richie has provided capsule reviews of the major subtitled Japanese films commercially available in DVD and VHS formats. This guide has been updated to include not only the best new movie releases, but also classic films available in these formats for the first time.

    In Filmish, Ross's cartoon alter-ego guides readers through the annals of cinematic history, introducing us to some of the strange and fascinating concepts at work in the movies. Each chapter focuses on a particular theme - the body, architecture, language - and explores an eclectic mix of cinematic triumphs, from A Trip to the Moon to Aliens. Sitting within the tradition of bestselling non-fiction graphic novels like Scott McClouds Understanding Comics and the Introducing...series, Filmish tackles serious issues - sexuality, race, censorship, propaganda - with authority and wit, throwing new light on some of the greatest films ever made.

    For him, comedy was not a routine; it was a way of life. He could not enter a room unnoticed or let a conversation go without making someone laugh. Fans knew Chris as Saturday Night Live’s sweaty, swaggering, motivational speaker; as the irresistible Chippendales stripper; and as Tommy Callahan, the underdog hero of Tommy Boy. His family knew him as sensitive and passionate, deeply religious, and devoted to bringing laughter into others’ lives. But Chris did not know moderation, either in his boundless generosity toward friends or in the reckless abandon of his drug and alcohol abuse. For ten years, Chris cycled in and out of rehabilitation centers, constantly fighting his insecurities and his fears. Despite three hard-fought years of sobriety, addiction would ultimately take his life at the tragically young age of thirty-three. Fame on SNL and three straight number-one box office hits gave way to a string of embarrassing public appearances, followed by a fatal overdose in December 1997. Here is Chris Farley as remembered by his family, friends, and colleagues—the true story of a man who lived to make us laugh and died as a result. The Chris Farley Show is an evocative and harrowing portrait of a family trapped by addiction, a father forced to bury a son, and a gifted and kindhearted man ultimately torn apart by the demons inside him.

    The author doesn't pull any punches describing the good, the bad, the funny and the just plain ridiculous of the Submarine Service. Besides a wealth of information about what it's like to serve on a submarine, you'll meet real life characters like Tongue, Snake and Button Butt John. Did submarines make them rude, crude, and crazy. Or does the Submarine Service act as a magnet for every nut in the Navy? One thing is sure, after two months underwater, and with their back pay in their back pocket, Sub Sailors are as wild as cowboys after a cattle drive. Bar the doors and hide your daughters. Every reader owes it to themselves to use Amazons "Look In" feature to take a peek inside this unique and entertaining book.