Los Angeles Times

    Her career spanned nearly half a century and included such classic films as Rear Window and Sunset Boulevard. Her private life and professional achievements have been the subject of speculation since she rose to the top in the late 1940s. Ruthlessly competitive and intensely secretive, Head had few close friends and many detractors. Her longtime friend, protégé, and confidant David Chierichetti offers a privileged glimpse into the personality behind the famously impenetrable "schoolmarm" façade and a comprehensive account of her creative process.With more than 150 images –– including family snapshots, sketches, and studio portraits of the stars and roles she helped to create, Edith Head is a fresh and vital portrait of the designer, as well as of the era she epitomizes.

    He shows how broad Tarantino's points of reference are, and analyzes the narrative accomplishment and complexity. In addition, Polan argues that macho attitudes celebrated in film are much more complex than they seem.

    Now Stephen Michael Shearer sets the record straight in the first in-depth biography of the film legend.Swanson was Hollywood's first successful glamour queen. Her stardom as an actress in the mid-1920s earned her millions of fans and millions of dollars. Realizing her box office value early in her career, she took control of her life. Soon she was not only producing her own films, she was choosing her scripts, selecting her leading men, casting her projects, creating her own fashions, guiding her publicity, and living an extravagant and sometimes extraordinary celebrity lifestyle.She also collected a long line of lovers (including Joseph P. Kennedy) and married men of her choosing (including a French marquis, thus becoming America's first member of "nobility"). As a devoted and loving mother, she managed a quiet success of raising three children. Perhaps most important, as a keen businesswoman she also was able to extend her career more than sixty years. Her astounding comeback as Norma Desmond in Billy Wilder's Sunset Boulevard catapulted her back into the limelight. But it also created her long-misunderstood persona, one that this meticulous biography shows was only part of this independent and unparalleled woman.

    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.

    He examines her Dickensian childhood, her violent first marriage, her painful estrangement from her son, and the troubled sexual dynamics of her marriage to Robert Taylor.

    But when Wiley Kingston stole his appaloosa, shot his old dog, and tried to kill him, he soon found he didn’t have a choice. After he killed Wiley, his father Ben sent men to kill Frank. They cornered him in the mountains; too bad for them.

    Rowling's popular character, Severus Snape, and the roles he played in the Harry Potter series.

    It is eighteen sixty-six during the Reconstruction Period and many soldiers mustered out of the Armies, both North and South only to return to burned-out homes and long gone families. Some turned to the trail West and Texan territory, bringing with them the hate and violence inherited from their four years of hell. Combined with the lack of military presence in Texas during these years of civil conflict the Comanche had gained a foothold and pushed the settlers back more than thirty miles as they continue their raiding parties unchecked across Texas and Mexico. With only the Texas Rangers to stand in their way. A historically factual novel with a peppering of famous Old West characters sprinkled in. Humor, tragedy, romance, bounty hunters, gunfighters and a strong dose of action make this third book of the Sundog Series a winner. Quite the Western Adventure.

     Detective Dillon Storm is headed back to Naples for the first time in a dozen years, and the occasion is not a happy one. The illegitimate son of the richest man in America’s richest city, Dillon spent his entire life in the shadow of a family that would never accept him. Now he’s come to bury the man who neglected him and in doing so, put that part of his life behind him forever. But the past has a way of sticking around, and things don’t stay forgotten in sun soaked Florida for long…even when they’re buried. When the lawyer dealing with his father’s estate is murdered and Dillon’s number is found on his phone, it sets the detective on a path that will unearth family secrets, bring long gestating scandals to light, and expose a murder that will change everything Dillon thought he knew about his past forever. There are bodies in these swamps, and it’ll take just the right kind of Storm to give them justice.

    To this end, they ambush Sheriff Pelham Birdsall, leaving him for dead. But Birdsall, thanks to his young wife Delight, doesn't die, and as she strives to get him back on his feet in time for the inevitable showdown, more and more of the sheriff's duties fall on her shoulders. In this, she is assisted by an unlikely deputy and a three-legged dog, but in the end, it takes all of them to vanquish the outlaws. As an historical aside, a sheriff's wife was often called upon to provide meals and other amenities for prisoners in her husband's jail. In return, depending on the prisoner's character and his crime, he might chop wood for the stove or do other chores. Neither the sheriff nor his wife was paid extra for prisoner provisions or for her work.

    A new generation of artists--as well as some who never abandoned figurative painting in the first place--is relishing the solitary, slow, subtle set of processes involved in not just painting, but painting people. They are choosing paint's unique ability to distill a lifetime of events rather than photography's glimpse of a frozen moment. Painting People, edited by the prominent London art historian and critic Charlotte Mullins, unites and contrasts the work of a key group of artists from around the world, and investigates their richly varied accomplishments in lucid text with detailed commentaries, accompanied by more than 150 reproductions. The list of contributing artists is stellar, ranging from photo-based painters like Luc Tuymans, Peter Doig and Marlene Dumas to Pop artists like Sigmar Polke and Alex Katz, photorealists like Chuck Close and Gerhard Richter, Neoexpressionists like Cecily Brown, and comics-inspired painters like Yoshitomo Nara, Inka Essenhigh and Takashi Murakami. There are erotic grotesques from John Currin and Lisa Yuskavage, meditations on the muse by Elizabeth Peyton and Lucian Freud, "Repro-realistic" work from Neo Rauch and of course self-portraits by Philip Akkerman and Marcel Dzama, among others.

    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...

    Brando discusses many topics including acting, women, Native Americans and corporate America.

    Here you'll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho's gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers 'the one where I drilled in people's heads and ate their brains'. Welcome to the lost worlds of British cinema.