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

    . . but the riches found in the overlooked B movies of the time, rolled out wherever they might find an audience, unexpectedly tell an eye-opening story about post-Watergate, post-Vietnam America. Revisiting the films that don't make the Academy Award montages, Charles Taylor finds a treasury many of us have forgotten, movies that in fact “unlock the secrets of the times.”Celebrated film critic Taylor pays homage to the trucker vigilantes, meat magnate pimps, blaxploitation “angel avengers,” and taciturn factory workers of grungy, unartful B films such as Prime Cut, Foxy Brown, and Eyes of Laura Mars. He creates a compelling argument for what matters in moviemaking and brings a pivotal American era vividly to life in all its gritty, melancholy complexity.

    Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    -- Alan Dundes. Propp's work is seminal...[and], now that it is available in a new edition, should be even more valuable to folklorists who are directing their attention to the form of the folktale, especially to those structural characteristics which are common to many entries coming from even different cultures. -- Choice

    Covering hundreds of movies from America, Europe and Asia, this history chronicles the zombie's on-screen evolution from Caribbean bogeyman to flesh-eating corpse.

    Includes more than 200 diagrams illustrating camera positions.

    In the original edition, Steiner provided readers with the first systematic investigation since the eighteenth century of the phenomenologyand processes of translation both inside and between languages. Taking issue with the principal emphasis of modern linguistics, he finds the root of the Babel problem in our deep instinct for privacy and territory, noting that every people has in its language a unique body of shared secrecy. Withthis provocative thesis he analyzes every aspect of translation from fundamental conditions of interpretation to the most intricate of linguistic constructions. For the long-awaited second edition, Steiner entirely revised the text, added new and expanded notes, and wrote a new preface setting the work in the present context of hermeneutics, poetics, and translation studies. This new edition brings the bibliography up to the present with substantiallyupdated references, including much Russian and Eastern European material. Like the towering figures of Derrida, Lacan, and Foucault, Steiner's work is central to current literary thought. After Babel, Third Edition is essential reading for anyone hoping to understand the debates raging in theacademy today.

    First published in French (L'Esthetique du film) in 1983, the book provides an essential introduction to all major areas of film study, including semiotics, narratology, psychoanalysis as a part of film theory, and the theory of spectatorship.Because current film criticism is part of a historical debate about the role of cinema in society, the authors probe the contributions of significant film theorists of the past. They consider the earliest writings of Munsterberg, Balazs, and Eisenstein, move on to Bazin, the Filmologists, and Mitry, and address the linguistic, semiotic, and psychoanalytic contributions offered by Barthes, Metz, and many of their contemporaries.The chapters include "Film as Audiovisual Representation," "Montage," "Cinema and Narration," "Cinema and Language," and "Film and its Spectator." With numerous references to specific films and many black-and-white stills, the book will be useful for both beginning film students and advanced scholars who need a summary of the major stages in the development of film theory and aesthetics.

    Distinghuished historians such as Stephen Ambrose, Antonia Fraser, James McPherson, Gerda Lerner, Dee Brown, Frances FitzGerald, David Levering Lewis, and Simon Schama explore the relationship between film and the historical record. Offering hundreds of movie stills, archival photographs, maps, and other illustrations, along with sidebars on related historical events, "Past Imperfect "sheds new light on the uses of history in popular culture.

    Every word and gesture made headlines and garnered controversy. Her serious gifts as an actor were sometimes eclipsed by her notoriety—and by the way the camera fell helplessly in love with her.Beyond the headlines—and the too-familiar stories of heartbreak and desolation—was a woman far more curious, searching, witty, and hopeful than the one the world got to know. Now, for the first time, readers can meet the private Marilyn and understand her in a way we never have before. Fragments is an unprecedented collection of written artifacts—notes to herself, letters, even poems—in Marilyn's own handwriting, never before published, along with rarely seen intimate photos.Jotted in notebooks, typed on paper, or written on hotel letterhead, these texts reveal a woman who loved deeply and strove to perfect her craft. They show a Marilyn Monroe unsparing in her analysis of her own life, but also playful, funny, and impossibly charming. The easy grace and deceptive lightness that made her performances indelible emerge on the page, as does the simmering tragedy that made her last appearances so affecting.

    Yet, French critic and social theorist Edgar Morin perceived in the cinema a complex phenomenon capable of illuminating fundamental truths about thought, imagination, and human nature - which allowed him to connect the mythic universe of gods and spirits present within the most primitive societies to the hyperreality emanating from the images projected on the screen. Now making its English-language debut, this audacious, provocative work draws on insights from poets, filmmakers, anthropologists, and philosophers to restore to the cinema the sense of magic first enjoyed at the dawn of the medium. Morin's inquiry follows two veins of investigation. The first focuses on the cinematic image as the nexus between the real and the imaginary; the second examines the cinema's re-creation of the archaic universe of doubles and ghosts and its power to possess, to bewitch, to nourish dreams, desires, and aspirations. "We experience the cinema in a state of double consciousness," Morin writes, "an astonishing phenomenon where the illusion of reality is inseparable from the awareness that it is really an illusion."

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Now revised to include new words and updated essays, Keywords focuses on the sociology of language, demonstrating how the key words we use to understand our society take on new meanings and how these changes reflect the political bent and values of society.

    Cult diva and connoisseur of mongrel video Carol Schwartz and her stellar cast of notable critics and scribbling outpatients, deliver 1,300 irreverent reviews of masterpieces and misfits, many of them rewritten and expanded. More than 250 are new to this edition, like 'Cannibal Holocaust', 'Switchblade Sisters' and Ed Wood's 'I Woke Up Early The Day I Died'. Carol adds anime, underground and Hong Kong flicks to the weird, wild and wonderful mix. This much fun ought to be illegal. Cult fans will appreciate the increased number of cinematographers, writers and cast members in the entries; DVD availability; a Cult Connections resource guide to help further fanatic pursuits; and more, yes more movie taglines and quotes.

    In the 1950s he was one of the few American filmmakers, with Paths of Glory, to achieve the gravitas of European cinema. To 1960s audiences he was the man who made Dr. Strangelove, the influential anti-war movie, and the counterculture favorite 2001: A Space Odyssey. In the 1970s he created his hymn to urban violence, A Clockwork Orange, and in the 1980s distilled the nature of private madness and collective insanity in The Shining and Full Metal Jacket.Yet little is still known of the man and the influence exerted by his private life on his public art. Born in the Bronx, Kubrick has lived since 1961 in seclusion in rural England. From in-depth interviews with a range of people who have known the man best, from his childhood to the present, John Baxter has extracted the most complete account available of Kubrick's life: the conflicts with partners and stars, the failure to make Napoleon, the failed marriages and broken friendships, the use and abuse of writers and other creative collaborators.Kubrick emerges from this detailed and complex telling as a man both sensitive and ruthless, petulant and generous: a man who adulates reason but whose films reflect the wildest excesses of passion and who, above all, has dared to live life on his terms, whatever the price.