As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.

    The photo looks completely out of place on the FBI Ten Most Wanted Fugitives list where it’s been since December, 8, 2007. For eight of those years, Jason appeared directly beside Osama Bin Laden. Bin Laden is long gone, but Jason is still wanted for armed robbery and murder.For years, his sister, Jami D. Brown Martin has watched the true crime programs and read the amateur investigative blogs devoted to Jason, his crime, and the efforts to apprehend him knowing the story wasn’t as simple, nor was it just Jason’s. To be the sister, brother, or relative of one of the world’s most wanted men is to live every day with the horrible truth and many consequences of his brutal act.CENTER OF ATTENTION is the story of a former Mormon missionary turned murderer. It is also a riveting look behind the facade of the genetically blessed, seemingly prominent and pious Brown family of Laguna Beach, California. It is a tale of the family patriarch, John Brown, who disappeared without a trace ten years before his son. More important, it is the gripping and ultimately hopeful story of the sister of one of the world’s most wanted fugitives and her journey to accept that despite being a product of the same crazy environment as her brother, her life and path are her own.

    Silent-film comedy pioneer Mack Sennett forbade his screenwriters from writing anything down, for fear they’d get inflated ideas about themselves as creative artists. The great midcentury director John Ford was known to answer studio executives’ complaints that he was behind schedule by tearing a handful of random pages from his script and tossing them over his shoulder. And Ken Russell was so contemptuous of Paddy Chayefsky’s screenplay for Altered States that Chayefsky insisted on having his name removed from the credits.Of course, popular impressions aside, screenwriters have been central to moviemaking since the first motion picture audiences got past the sheer novelty of seeing pictures that moved at all. Soon they wanted to know: What happens next? In this truly fresh perspective on the movies, veteran Oscar-winning screenwriter Marc Norman gives us the first comprehensive history of the men and women who have answered that question, from Anita Loos, the highest-paid screenwriter of her day, to Robert Towne, Quentin Tarantino, Charlie Kaufman, and other paradigm-busting talents reimagining movies for the new century.The whole rich story is here: Herman Mankiewicz and the telegram he sent from Hollywood to his friend Ben Hecht in New York: “Millions are to be grabbed out here and your only competition is idiots.” The unlikely sojourns of F. Scott Fitzgerald and William Faulkner as Hollywood screenwriters. The imposition of the Production Code in the early 1930s and the ingenious attempts of screenwriters to outwit the censors. How the script for Casablanca, “a disaster from start to finish,” based on what James Agee judged to be “one of the world’s worst plays,” took shape in a chaotic frenzy of writing and rewriting—and how one of the most famous denouements in motion picture history wasn’t scripted until a week after the last scheduled day of shooting—because they had to end the movie somehow.Norman explores the dark days of the Hollywood blacklist that devastated and divided Hollywood’s screenwriting community. He charts the rise of the writer-director in the early 1970s with names like Coppola, Lucas, and Allen and the disaster of Michael Cimino’s Heaven’s Gate that led the studios to retake control. He offers priceless portraits of the young William Hurt, Steven Spielberg, and Steven Soderbergh. And he describes the scare of 2005 when new technologies seemed to dry up the audience for movies, and the industry—along with its screenwriters—faced the necessity of reinventing itself as it had done before in the face of sound recording, color, widescreen, television, and other technological revolutions.Impeccably researched, erudite, and filled with unforgettable stories of the too often overlooked, maligned, and abused men and women who devised the ideas that others brought to life in action and words on-screen, this is a unique and engrossing history of the quintessential art form of our time.

    Well-known scholars in the field explore the important qualities and functions of English studies' constituent disciplines--Ellen Barton on linguistics and discourse analysis, Janice Lauer on rhetoric and composition, Katharine Haake on creative writing, Richard Taylor on literature and literary criticism, Amy Elias on critical theory and cultural studies, and Robert Yagelski on English education--and the productive differences and similarities among them that define English studies' continuing importance.Faculty and students in both undergraduate and graduate courses will find the volume an invaluable overview of an increasingly fragmented field, as will department administrators who are responsible for evaluating the contributions of diverse faculty members but whose academic training may be specific to one discipline.Each chapter of English Studies is an argument for the value--the right to equal status--of each individual discipline among all English studies disciplines, yet the book is also an argument for disciplinary integration.

    Hollywood has so many stories to tell and, unfortunately, so many of them do not have happy endings. From Marilyn Monroe to posthumous Oscar winner Heath Ledger, this book lays bare some of the myths and gets to the heart of some of Hollywood's Unhappiest Endings.

    The fifty-year career of John Ford (1895-1973) included six Academy Awards, four New York Film Critics' Awards, and some of our most memorable films, among them The Informer (1934), The Grapes of Wrath (1940), The Quiet Man (1952), The Long Gray Line (1955), and The Wings of Eagles (1957). In addition, the name John Ford was practically synonymous with the great Westerns that came out of Hollywood for many years-- Stagecoach (1939), She Wore a Yellow Ribbon (1949), Rio Grande (1950), The Searchers (1956), and The Man Who Shot Liberty Valance (1962), for example. After his death a European newspaper mourned ford as "the creator of the Western," although many of his finest films were far removed from that genre. Combining interviews with John Ford with his own reflections, director Peter Bogdanovich captures both the artist and the man in a highly readable, compact book that will please film lovers and Ford admirers alike. Over a hundred stills are included, along wit hthe most completed filmography yet compiled for John Ford.

    He also talked a fair amount about mayonnaise. The interview was conducted by Mara Altman, the author of four bestselling Kindle Singles including “Baby Steps” and “Bearded Lady.” Altman has worked as a staff writer for The Village Voice, and has also written for New York Magazine and The New York Times. In 2009, HarperCollins published Altman's first book, “Thanks For Coming: A Young Woman's Quest for an Orgasm,” which was optioned as a comedy series by HBO. Cover design by Adil Dara Kim.

    In this single, from n+1 (Issue 12), Kent Russell gives a remarkable (and very funny) report on the festival and a sympathetic account of the situation of the white poor in the US.

    "Twilight," "True Blood," "Being Human," "The Vampire Diaries," "Buffy the Vampire Slayer," "Blade," "Underworld," and the novels of Anne Rice and Darren Shan--against this glut of bloodsuckers, it takes an incredible film to make a name for itself. Directed by Tomas Alfredson and adapted for the screen by John Ajvide Lindqvist, The Swedish film "L't den r?tte komma in" (2008), known to American audiences as "Let the Right One In," is the most exciting, subversive, and original horror production since the genre's best-known works of the 1970s. Like "Twilight," "Let the Right One In" is a love story between a human and a vampire--but that is where the resemblance ends. Set in a snowy, surburban housing estate in 1980s Stockholm, the film combines supernatural elements with social realism. It features Oskar, a lonely, bullied child, and Eli, the girl next door. "Oskar, I'm not a girl," she tells him, and she's not kidding--she's a vampire. The two forge an intense relationship that is at once innocent and disturbing. Two outsiders against the world, one of these outsiders is, essentially, a serial killer. What does Eli want from Oskar? Simple companionship, or something else? While startlingly original, "Let the Right One In" could not have existed without the near century of vampire cinema that preceded it. Anne Billson reviews this history and the film's inheritence of (and new twists on) such classics as "Nosferatu" (1979) and "Dracula" (1931). She discusses the genre's early fliration with social realism in films such as "Martin" (1977) and "Near Dark" (1987), along with its adaptation of mythology to the modern world, and she examines the changing relationship between vampires and humans, the role of the vampire's assistant, and the enduring figure of vampires in popular culture.

    Talking candidly about his entire career; his acting, writing and directing, and the many tussles he has faced with Hollywood moguls, this is Bruce Robinson as you've never seen or heard him before.'The most purely likeable book about cinema I have ever read. Robinson talks about his profession in a way that is astonishingly clear-headed, funny and wise' David Hare, Guardian, Books of the Year

    Slouching Towards Los Angeles is a multi-faceted portrait of the literary icon who, in turn, belongs to us.This collection of original essays covers the turf that made Didion a sensation―Hollywood and Patty Hearst; Malibu, Manson and the Mojave; the Summer of Love and the Central Park Five―while bringing together some of the finest voices of today’s Los Angeles and beyond. Slouching Towards Los Angeles is a love letter and thank you note; personal memoir and social commentary; cultural history and literary critique. Fans of Didion, lovers of California, and fellow writers alike will all find something to dig into, in this rich exploration of the inner and outer landscapes Joan Didion traveled, shaping our own journeys in the process.

    In these pages both everyday riders and pros tell their stories of freak accidents, animal attacks, sabotage, idiotic decisions, eerie or unexplained incidents, and other jaw dropping, adrenalin-pumping calamities. These stories bring to life the strange things possibilities that await, once we step on the pedals of our road, mountain, or commuter bikes. A sampling of misadventures in this collection includes the stories of: the mountain biker who follows a bull and then gets gored by it; the twenty African Americans who pioneered cycle touring by completing a Transamerica ride in 1897, but wait - this story gets strange...; the large rat that leapt on top of a woman's bike and slapped her repeatedly with its tail; an inside-the-head narration by a professional racer as he rides a brutal race, and then gets humiliated in changing room afterwards; the recreational cyclist who accidentally rides deep into a prison yard; the computer programmer who crashes a stationary bike during his first spin class; the bike messenger who can't call it quits even after getting hit by eight cars; and, the man who carefully spreads out tacks on the route of an all female race in an attempt to get a date. These stories will make you wonder, drop you to the floor laughing and leave you shaking your head with disbelief.

    Here, word for word is that amazing speech to inspire you to find what it is that you "Love".

    She carefully unspools the cultural threads that inform his aesthetic to explain why this precocious arthouse film nerd from Texas has become one of the most popular directors of his generation.

    • Exhausting—when you realize you’ll most likely never sleep again--like EVER. • Explosive—OMG these kids spew from both ends! And that’s just the beginning. Whitney shares the ridiculous highs and excruciating lows of her catapult into motherhood. Enjoy the ride as this new mom vows to give up profanity while falling in love with… you guessed it, Costco. Be careful, because if you’re anything like Whitney, you may just pee a little. Motherhood Martyrdom & Costco Runs takes the reader on a roller coaster of emotions as Whitney plummets into postpartum depression, desperately tries to get her kids to stop yodeling in public restrooms, and comes to terms with the fact she’ll never quite be queen of her own kingdom. Get ready to laugh, cry, cheer, and pat yourself on the back for the sake of mommies everywhere. And while you’re at it, stop by Costco for a case of toilet paper and a Very Berry Sundae. You won’t regret it!