Lovett, Sweeney's amorous accomplice, who creates diabolical meat pies... The cast also includes Alan Rickman,Timothy Spall and Sacha Baron Cohen.Produced in close co-operation with Tim Burton and the production team, this lavish, full colour hardcover official companion volume to the film will include a Foreword by Tim Burton, over 200 photos, concept drawings and production designs, extracts from the screenplay and interviews with the cast and crew.

    The first book on this legendary film figure in English, this highly visual biography details his fascinating life and career, featuring hundreds of film stills, posters, concept art, and delightful on-set photos of Tsuburaya prompting monsters to crush landmark buildings. A must-have for fans, this towering tribute also features profiles of Tsuburaya's film collaborators, details on his key films and shows (most available on DVD), and features on the enduring popularity of the characters he helped create.

    Under extreme pressure on a catastrophic location shoot, Universal's 27 year-old prodigy crafted a thriller so effective that for many years Jaws was the highest-grossing film of all time. It was also instrumental in establishing the concepts of the event movie and the summer blockbuster. Jaws exerts an extraordinary power over audiences. Apparently simplistic and manipulative, it is a film that has divided critics into two broad camps: those who dismiss it as infantile and sensational - and those who see the shark as freighted with complex political and psychosexual meaning. Antonia Quirke, in an impressionistic response, argues that both interpretations obscure the film's success simply as a work of art. In Jaws Spielberg's ability to blend genres combined with his precocious technical skill to create a genuine masterpiece, which is underrated by many, including its director. Indeed, Quirke claims, this may be Spielberg's finest work.

    1946) is perhaps the best known of all cult directors, whose Mulholland Drive marks cinema's arrival to the 21st century. His career began more than 30 years ago, with the groundbreaking, mystifying "Eraserhead" (1977). With "Blue Velvet" (1986), "Wild at Heart" (1990) and "Lost Highway" (1997) Lynch breathed new life into the sensory experiences of film audiences and disrupted narrative logic to mysterious and mystifying effect. In the early 1990s, he invented a new TV series genre with "Twin Peaks". Although he is a Hollywood director, Lynch works at the edges of the studio system, exploring the many facets of his artistic talent, whose creations, including photography, painting and music, are now making their way into museums and galleries.

    For $10,000, Jane and Don optioned Natural Born Killers and set off on a two-year roller coaster ride no classroom could have prepared them for. With an outrageous cast of real-life characters including Oliver Stone, Woody Harrelson, Robert Downey, Jr., and Juliette Lewis--along with a slew of film-crew leeches and behind-the-scenes studio pitbulls--Killer Instinct rivals the most mesmerizing, gut-wrenching movie scenes. A wild joyride like no other, Hamsher's tale provides a fresh, insider's perspective on stardom and the real balance of power in Hollywood.

    144 pp. Ages 14 and up. Pub: 3/98.

    She knows that she really likes working in cafes and that, most likely, she does not love her boyfriend Patrick. But Lou doesn't know what's going to lose his job and that in the near future she will need all the strength to overcome the problems piled on her. Will Traynor knows what hit him, the motorcyclist took away his desire to live. And he knows exactly what needs to be done to put an end to all this. But he doesn't know that Lou will soon burst into his world in a riot of colors. And they both don't know that will forever change the lives of each other.

    His best-known films, Blue; White; Red; The Double Life of Veronique; and The Decalogue, remain watershed events in lmmaking history. Author Annette Insdorf, Kieslowskis close friend and translator, offers a revealing portrait of his life and monumental body of work. From the gold-bathed images of The Double Life of Veronique to the emotionally dark, visually haunting Blue, Kieslowskis films explore personal and social issues with inimitable brilliance. This paperback edition includes an updated introduction with information on the much anticipated release of Heaven (March 2002) which Kieslowski wrote and planned to film, before he died unexpectedly in March 1996.

    It covers films like Giant, Rebel Without A Cause and Invasion of the Body Snatchers to show how politically innocent movies in fact do bear an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen, from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, and an American.

    His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.

    The films of the New Wave in Japan have, until now, been largely overlooked. Eros plus Massacre (taking its title from a 1969 Yoshida Yoshishige film) is the first major study devoted to the examination and explanation of Japanese New Wave film.Desser organizes his volume around the defining motifs of the New Wave. Chapters examine in depth such themes as youth, identity, sexuality, and women, as they are revealed in the Japanese film of the sixties. Desser's research in Japanese film archives, his interviews with major figures of the movement, and his keen insight into Japanese culture combine to offer a solid and balanced analysis of films by Oshima, Shinoda, Imamura, Yoshida, Suzuki, and others.

    It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve.Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques--a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.

    The guide includes all the icons, from Boris Karloff to Wes Craven and Frankenstein to Freddie Kruger, including classics from Argentina, Pakistan, South Africa and the recent chillers from East Asia. The canon of fifty essential horror movies features The Cabinet of Dr Caligari and Switchblade Romance, via Psycho and The Exorcist. Everything you need to know is covered from festivals, adaptations, magazines and merchandise. The guide tells the stories behind the movies that have scared us throughout the twentieth century.

    Yet despite dazzling success with the public, it never received its fair share of praise from the critics. Gene Kelly's genius as a performer is there for all to see. What is less acknowledged is his innovatory contribution as director. Peter Wollen has finally done justice to this landmark film. In a brilliant shot-by-shot analysis of the famous title number, illustrated by specially produced frame stills, he shows how skillfully Kelly binds the dance and musical elements into the narrative, and how he successfully combines two distinctive traditions within American Dance, tap and ballet.Scriptwriters Betty Comden and Adolph Green, and indeed Kelly himself, were all under threat from the McCarthyism which menaced Hollywood at this time. The ethos in which the film was conceived could not long survive in the era of blacklisting. Wollen argues convincingly that "Singin' in the Rain" was the high point in the careers of those who worked on it.

    Grab your copy of Secret Hollywood and start gossiping!