For the first time, one book unearths all the details of his turbulent adventures in Tinseltown. Based on extensive interviews with producers, screenwriters, cast members, and crew, Superman vs. Hollywood spills the beans on Marlon Brando’s eccentricities; the challenges of making Superman appear to fly; the casting process that at various points had Superman being played by Sylvester Stallone, Neil Diamond, Nicolas Cage, Ashton Kutcher, and even Muhammad Ali; and the Superman movies, fashioned by such maverick filmmakers as Kevin Smith and Tim Burton, that never made it to the screen.

    So hold your nose, kiss the babies, and just think how good you would look on a stamp.Now, before we go into your media responsibilities, you must understand the true history of political power, so you don't accidentally act on the naive idealism you are required to project to the general public.The reality of political power is very simple: bad farmers own crops and livestock -- good farmers own human beings...

    A provocative, compelling, and entertaining look at how the power of images dominates every aspect of our lives.

    In between, Nick de Semlyen takes us on a trip through the tumultuous '80s, delving behind the scenes of movies such as Ghostbusters, Beverly Hills Cop, The Blues Brothers, Trading Places, and dozens more. Chronicling the off-screen, larger-than-life antics of Bill Murray, Eddie Murphy, Chevy Chase, Steve Martin, John Belushi, et al, it's got drugs, sex, punch-ups, webbed toes, and Bill Murray being pushed into a swimming pool by Hunter S. Thompson, while tied to a lawn chair. What's not to like?Based on candid interviews from the stars themselves, as well as those in their immediate orbit, Wild and Crazy Guys is a fantastic insider account of the friendships, feuds, triumphs, and disasters experienced by these iconic funnymen, and reveals the hidden history behind the most fertile period ever for screen comedy.

     Golda Meir was a world figure unlike any other. Born in czarist Russia in 1898, she immigrated to America in 1906 and grew up in Milwaukee, where from her earliest years she displayed the political consciousness and organizational skills that would eventually catapult her into the inner circles of Israel's founding generation. Moving to mandatory Palestine in 1921 with her husband, the passionate socialist joined a kibbutz but soon left and was hired at a public works office by the man who would become the great love of her life. A series of public service jobs brought her to the attention of David Ben-Gurion, and her political career took off. Fund-raising in America in 1948, secretly meeting in Amman with King Abdullah right before Israel's declaration of independence, mobbed by thousands of Jews in a Moscow synagogue in 1948 as Israel's first representative to the USSR, serving as minister of labor and foreign minister in the 1950s and 1960s, Golda brought fiery oratory, plainspoken appeals, and shrewd deal-making to the cause to which she had dedicated her life--the welfare and security of the State of Israel and its inhabitants. As prime minister Golda negotiated arms agreements with Richard Nixon and Henry Kissinger, agonized over the mixed signals being sent by newly installed Egyptian president Anwar Sadat, and had dozens of clandestine meetings with Jordan's King Hussein in the unsuccessful pursuit of a land-for-peace agreement with Israel's neighbors. But her time in office ended in tragedy, when Israel was caught off guard by Egypt and Syria's surprise attack on Yom Kippur in 1973. Resigning in the war's aftermath, Golda spent her final years keeping a hand in national affairs and bemusedly enjoying international acclaim. Francine Klagsbrun's superbly researched and masterly recounted story of Israel's founding mother gives us a Golda for the ages.

    How could it lose? But instead Salamon got a front-row seat at the Hollywood disaster of the decade. She shadowed the film from its early stages through the last of the eviscerating reviews, and met everyone from the actors to the technicians to the studio executives. They'd all signed on for a blockbuster, but there was a sense of impending doom from the start--heart-of-gold characters replaced Wolfe's satiric creations; affable Tom Hanks was cast as the patrician heel; Melanie Griffith appeared mid-shoot with new, bigger breasts. With a keen eye and ear, Salamon shows us how the best of intentions turned into a legendary Hollywood debacle.The Devil's Candy joins John Gregory Dunne's The Studio, Steven Bach's Final Cut, and William Goldman's Adventures in the Screen Trade as a classic for anyone interested in the workings of Hollywood. With a new afterword profiling De Palma ten years after the movie's devastating flop (and this book's best-selling publication), Julie Salamon has created a riveting insider's portrait of an industry where art, talent, ego, and money combine and clash on a monumental scale.

    New edition of this widely adopted introduction to the Isreali-Palestinian conflictFully revised and updated, the second edition also includes a new chapter on the so-called fourth stage of the conflict.Written by one of the worlds leading authorities on the conflict, who is recognized for the even-handedness of his approach to this complex and sensitive topicAssumes no prior knowledge on the part of the readerIncludes an extensive chronology of events at the back of the book

    Waugh lived and worked in the Gaza Strip from December 2007 to April 2009. Her other works include Hearing Birds Fly: A Nomadic Year in Mongolia, which won the 2004 inaugural Royal Society of Literature Ondaatje Prize, and Selling Olga: Stories of Human Trafficking and Resistance.

    Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.

    As Israel and its advocates lurch toward greater extremism, many ask where the struggle is headed. This book offers a clear analysis of this crossroads moment and looks forward with urgency down the path to a more hopeful future.

    Started in 1975, when five bright and brash employees of a creaky William Morris office left to open their own, strikingly innovative talent agency, CAA would come to revolutionize the entertainment industry, and over the next several decades its tentacles would spread aggressively throughout the worlds of movies, television, music, advertising, and investment banking. Powerhouse is the fascinating, no-holds-barred saga of that ascent. Drawing on unprecedented and exclusive access to the men and women who built and battled with CAA, as well as financial information never before made public, author James Andrew Miller spins a tale of boundless ambition, ruthless egomania, ceaseless empire building, greed, and personal betrayal. It is also a story of prophetic brilliance, magnificent artistry, singular genius, entrepreneurial courage, strategic daring, foxhole brotherhood, and how one firm utterly transformed the entertainment business.Here are the real Star Wars—complete with a Death Star—told through the voices of those who were there. Packed with scores of stars from movies, television, music, and sports, as well as a tremendously compelling cast of agents, studio executives, network chiefs, league commissioners, private equity partners, tech CEOs, and media tycoons, Powerhouse is itself a Hollywood blockbuster of the most spectacular sort.

    Here is a rare opportunity to eavesdrop on two cinematic masters from very different backgrounds as they cover each of Hitch's films in succession. Though this book was initially published in 1967 when Hitchcock was still active, Truffaut later prepared a revised edition that covered the final stages of his career. It's difficult to think of a more informative or entertaining introduction to Hitchcock's art, interests, and peculiar sense of humor. The book is a storehouse of insight and witticism, including the master's impressions of a classic like Rear Window ("I was feeling very creative at the time, the batteries were well charged"), his technical insight into Psycho's shower scene ("the knife never touched the body; it was all done in the [editing]"), and his ruminations on flops such as Under Capricorn ("If I were to make another picture in Australia today, I'd have a policeman hop into the pocket of a kangaroo and yell 'Follow that car!'"). This is one of the most delightful film books in print. --Raphael Shargel

    He was there during the Operation 'Cast Lead' and so his daily dispatches came directly from the killing fields of Gaza, and are therefore free of any media distortion or manipulation."—Ilan Pappé, professor of history, University of ExeterAn authoritative and deeply moving eyewitness account of the terrible twenty-two-day Israeli offensive against the Gaza Strip in December 2008 and January 2009. These daily dispatches were written in precarious conditions, between bombing raids and intermittent Internet access. Vittorio Arrigoni ends his dispatches with the plea "stay human," which became the motto of the peace protests in his native Italy. This English translation is updated with new entries reflecting on life in Gaza after the offensive and also features an introduction by famous Israeli historian Ilan Pappé.Vittorio Arrigoni was an internationally renowned human rights activist who served as a volunteer with the pacifist International Solidarity Movement and worked closely with fishermen and farmers in Gaza. During the Israeli offensive against the Gaza Strip in 2008-9, Arrigoni acted as a human shield while working with the Palestinian Red Crescent ambulances. Working as a freelance journalist for the Italian daily Il Manifesto, Arrigoni’s daily dispatches, written between bombing raids and patchy internet access, ended with the plea, "stay human," which became the motto of the anti-Israeli peace protests in his native Italy. His authoritative and deeply moving eyewitness account was later published in 2010 in Italian, French, German, and English, which the historian Ilan Pappé described as the "account of an everyman and a true humanist." On April 14, 2011, Arrigoni was kidnapped and brutally murdered by militants in Gaza, which caused an international outcry and was unanimously condemned by Hamas and the Palestinian National Authority.

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.