Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    Publisher-Darien House in 1971. Over 600 illustrations

    Fifty years after the film's conception, TASCHEN looks back at the process of making the most important science-fiction film of all time. Though 2001 has arguably spawned more critical texts and scholarly analyses than any other film, this publication marks the first time that a truly exhaustive book has been devoted to it. TASCHEN readers enjoyed a sampling of previously unseen 2001 material in The Stanley Kubrick Archives; this four-volume set revisits the subject, exploring in great depth every aspect of the film and its making: the groundbreaking technical effects, the extraordinary set designs, and the fascinating collaboration between Kubrick and Arthur C. Clarke. Made in exclusive collaboration with the Kubrick estate and Warner Brothers, this copiously illustrated work features hundreds of unique 2001-related documents, concept artworks, and superb behind-the-scenes photographs from the Kubrick Archives most of which have never been published before as well as exclusive material from co-screenwriter Arthur C. Clarke s archives. The Making of Stanley Kubrick s '2001: A Space Odyssey' is a landmark book for film fans and a celebration of technical special-effects innovation before the digital age, conceived by the very designers of TASCHEN's instant collectible Stanley Kubrick's Napoleon: The Greatest Movie Never Made. The Making of Stanley Kubrick's '2001. A Space Odyssey' Four volumes contained in a monolith-shaped case, designed by M/M Paris: Volume 1: Film stills Volume 2: Behind the scenes (including new interviews with lead actors, senior production designers, and key special-effects experts) Volume 3: Facsimile of original screenplay Volume 4: Facsimile of original 1965 production notes Limited to a total of 1,000 copies: Art Edition No 1-500 (Art Edition A and B) and Collector's Edition No. 501-1,500"

    One of the chapters, for example, answers which race Kevin Costner was able to white savior the best, because did you know that he white saviors Mexicans in McFarland, USA, and white saviors Native Americans in Dances with Wolves, and white saviors Black people in Black or White, and white saviors the Cleveland Browns in Draft Day? Another of the chapters, for a second example, answers what other high school movie characters would be in Regina George's circle of friends if we opened up the Mean Girls universe to include other movies (Johnny Lawrence is temporarily in, Claire from The Breakfast Club is in, Ferris Bueller is out, Isis from Bring It On is out...). Another of the chapters, for a third example, creates a special version of the Academy Awards specifically for rom-coms, the most underrated movie genre of all. And another of the chapters, for a final example, is actually a triple chapter that serves as an NBA-style draft of the very best and most memorable moments in gangster movies. Many, many things happen in Movies (And Other Things), some of which funny, others of which are sad, a few of which are insightful, and all of which are handled with the type of care and dedication to the smallest details and pockets of pop culture that only a book by Shea Serrano can provide.

    But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer.His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches.Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

    Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs commonsense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins advances a film theory, based on the work of Bazin and other early film theorists, that is rich with suggestion for debate and further pursuit. Sit beside Perkins as he reacquaints you with cinema, heightens your awareness, deepens your pleasure, and increases your return every time you invest in a movie ticket.

    Its focus is on formalism - how the forms of the film create meaning. It is updated with recent films and personalities for students.

    The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

    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.

    The author provides vivid descriptions of classic pictures such as The Birth of a Nation, Intolerance, Sunrise, The Covered Wagon, and Greed, and lucidly discusses their technical and artistic merits and weaknesses. He pays tribute to acknowledged masters like D. W. Griffith, Charlie Chaplin, Buster Keaton, Douglas Fairbanks, Mary Pickford, and Lillian and Dorothy Gish, but he also gives ample attention to previously neglected yet equally gifted actors and directors. In addition, the book covers individual genres, such as the comedy, western gangster, and spectacle, and explores such essential but little-understood subjects as art direction, production design, lighting and camera techniques, and the art of the subtitle. Intended for all scholars, students, and lovers of film, this fascinating book, which features over 150 film stills, provides a rich and comprehensive overview of this unforgettable era in film history.

    Irrepressibly vivacious, he spent his life leaping over and into things, from his early Broadway successes to his marriage to the great screen actress Mary Pickford to the way he made Hollywood his very own town. The inventor of the swashbuckler, he wasn’t only an actor—he all but directed and produced his movies, and in founding United Artists with Pickford, Charlie Chaplin, and D. W. Griffith, he challenged the studio system.But listing his accomplishments is one thing and telling his story another. Tracey Goessel has made the latter her life’s work, and with exclusive access to Fairbanks’s love letters to Pickford, she brilliantly illuminates how Fairbanks conquered not just the entertainment world but the heart of perhaps the most famous woman in the world at the time.When Mary Pickford died, she was an alcoholic, self-imprisoned in her mansion, nearly alone, and largely forgotten. But she left behind a small box; in it, worn and refolded, were her letters from Douglas Fairbanks. Pickford and Fairbanks had ruled Hollywood as its first king and queen for a glorious decade. But the letters began long before, when they were both married to others, when revealing the affair would have caused a great scandal.Now these letters form the centerpiece of the first truly definitive biography of Hollywood’s first king, the man who did his own stunts and built his own studio and formed a company that allowed artists to distribute their own works outside the studio system. But Goessel’s research uncovered more: that Fairbanks’s first film appearance was two years earlier than had been assumed; that his stories of how he got into theater, and then into films, were fabricated; that the Pickford-Fairbanks Studios had a specially constructed underground trench so that Fairbanks could jog in the nude; that Fairbanks himself insisted racist references be removed from his films’ intertitles; and the true cause of Fairbanks’s death.Fairbanks was the top male star of his generation, the maker of some of the greatest films of his era: The Thief of Bagdad, Robin Hood, The Mark of Zorro. He was fun, witty, engaging, creative, athletic, and a force to be reckoned with. He shaped our idea of the Hollywood hero, and Hollywood has never been the same since. His story, like his movies, is full of passion, bravado, romance, and desire. Here at last is his definitive biography, based on extensive and brand-new research into every aspect of his career, and written with fine understanding, wit, and verve.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    Bergman's career spanned 40 years and produced over 50 films, many of which are considered classics. Over 200 photos.

    Wiley and Mr. Bona have found just the right tone for writing about this most particular of American phenomena.