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.

    Now, in West of Everything, Tompkins shows how popular novels and films of the American west have shaped the emotional lives of people in our time. Into this world full of violence and manly courage, the world of John Wayne and Louis L'Amour, Tompkins takes her readers, letting them feel what the hero feels, endure what he endures. Writing with sympathy, insight, and respect, she probes the main elements of the Western--its preoccupation with death, its barren landscapes, galloping horses, hard-bitten men and marginalized women--revealing the view of reality and code of behavior these features contain. She considers the Western hero's attraction to pain, his fear of women and language, his desire to dominate the environment--and to merge with it. In fact, Tompkins argues, for better or worse Westerns have taught us all--men especially--how to behave. It was as a reaction against popular women's novels and women's invasion of the public sphere that Westerns originated, Tompkins maintains. With Westerns, men were reclaiming cultural territory, countering the inwardness, spirituality, and domesticity of the sentimental writers, with a rough and tumble, secular, man-centered world. Tompkins brings these insights to bear in considering film classics such as Red River and Lonely Are the Brave, and novels such as Louis L'Amour's Last of the Breed and Owen Wister's The Virginian. In one of the most moving chapters (chosen for Best American Essays of 1991), Tompkins shows how the life of Buffalo Bill Cody, killer of Native Americans and charismatic star of the Wild West show, evokes the contradictory feelings which the Western typically elicits--horror and fascination with violence, but also love and respect for the romantic ideal of the cowboy. Whether interpreting a photograph of John Wayne of meditating on the slaughter of cattle, Jane Tompkins writes with humor, compassion, and a provocative intellect. Her book will appeal to many Americans who read or watch Westerns, and to all those interested in a serious approach to popular culture.

    Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds.

    Offers an intimate look at the work of Hollywood director John Ford through the observant eyes of actor Harry Carey, Jr.

    Ever since Godzilla (or, Gojira, as he is known in Japan) crawled out of his radioactive birthplace to cut a swath of destruction through Tokyo, he has claimed a place alongside King Kong and others in the movie monster pantheon. He is the third most recognizable Japanese celebrity in the United States, and his fan base continues to grow as children today prove his enduring appeal. Now, Bill Tsutsui, a life-long fan and historian, takes a light-hearted look at the big, green, radioactive lizard, revealing how he was born and how he became a megastar. With humorous anecdotes, Godzilla on My Mind explores his lasting cultural impact on the world. This book is sure to be welcomed by pop culture enthusiasts, fans, and historians alike.

    Now, drawing on new interviews, current research, and previously inaccessible archives, Ed Sikov offers endlessly entertaining portrait of one of this centurys most influential directors and screenwriters.

    By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.

    His films have been nominated for fifty-two Academy Awards, including five movies for Best Picture, and have won twelve. Winkler’s new film Creed II, starring Michael B. Jordan and Sylvester Stallone, opening fall 2018, will be followed by Martin Scorsese’s The Irishman, a major mafia saga for Netflix starring Robert De Niro, Al Pacino, and Joe Pesci. In A Life in Movies, his charming and insightful memoir, Winkler tells the stories of his career through his many films as a producer and then as a writer and director, charting the changes in Hollywood over the past decades. Winkler started in the famous William Morris mailroom and made his first film—starring Elvis—in the last days of the old studio system. Beginning in the late 1960s, and then for decades to come, he produced a string of provocative and influential films, making him one of the most critically lauded, prolific, and commercially successful producers of his era. This is an engrossing and candid book, a beguiling exploration of what it means to be a producer, including purchasing rights, developing scripts, casting actors, managing directors, editing film, and winning awards.Filled with tales of legendary and beloved films, as well as some not-so-legendary and forgotten ones, A Life in Movies takes readers behind the scenes and into the history of Hollywood.

    The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

    In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    Add a famous Hollywood star or two to the mix and the nation is hooked. The Hollywood Book of Scandals provides the full account of 32 big, provocative scandals--complete with all the sexy, scintillating, and often shocking details. Written by veteran show business chronicler James Robert Parish, this book dishes the full dirt on:Bob Crane's mysterious deathElizabeth Taylor's seduction of Eddie FisherRobert Mitchum's arrest for drug possessionJudy Garland's public meltdownErrol Flynn's trial for statutory rapeWinona Ryder's shoplifting trialMore than 100 black-and-white celebrity photos offer readers a close-up look at the leading players in these sordid dramas.

    Wagner opens his heart to share the romances, the drama, and the humor of an incredible lifeHe grew up in Bel Air next door to a golf course that changed his life. As a young boy, he saw a foursome playing one morning featuring none other than Fred Astaire, Clark Gable, Randolph Scott, and Cary Grant. Seeing these giants of the silver screen awed him and fueled his dreams of becoming a movie star. Battling a revolving door of boarding schools and a father who wanted him to forget Hollywood and join the family business, sixteen-year-old Wagner started like any naïve kid would—walking along Sunset Boulevard, hoping that a producer or director would notice him.Under the mentorship of stars like Spencer Tracy, he would become a salaried actor in Hollywood's studio system among other hot actors of the moment such as his friends Rock Hudson and Tony Curtis. Working with studio mogul Darryl Zanuck, Wagner began to appear in a number of films alongside the most beautiful starlets—but his first love was Barbara Stanwyck, an actress twice his age. As his career blossomed, and after he separated from Stanwyck, he met the woman who would change his life forever, Natalie Wood. They fell instantly and deeply in love and stayed together until the stress of their careers—hers marching upward, his inexplicably deflating—drove them to divorce.Trying to forget the pain, he made more movies and spent his time in Europe with the likes of Steve McQueen, Sophia Loren, Peter Sellers, Laurence Olivier, David Niven, Liz Taylor, and Joan Collins. He would meet and marry the beautiful former model and actress Marion Marshall. Together they had a daughter and made their way back to America, where he found himself at the beginning of a new era in Hollywood—the blossoming of television. Lew Wasserman and later Aaron Spelling would work with Wagner as he produced and starred in some of the most successful programs in history.Despite his newfound success, his marriage to Marion fell apart. He looked no further than Natalie Wood, for whom he still pined. To the world's surprise, they fell in love all over again, this time more deeply and with maturity. As she settled into a domestic life, raising their own daughter, Courtney, as well as their children from previous marriages, Wagner became the sole provider, reaping the riches of television success. Their life together was cut tragically short, though, when Wood died after falling from their yacht.For the first time, Wagner writes about that tremendously painful time. After a serious bout with depression, he finally resurfaced and eventually married Jill St. John, who helped keep his family and his fractured heart together.With color photographs and never-before-told stories, this is a quintessentially American story of one of the great sons of Hollywood.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    Club issue a slightly slanted pop-culture list filled with challenging opinions (Is David Bowie's "Young Americans" nearly ruined by saxophone?) and fascinating facts. Exploring 24 great films too painful to watch twice, 14 tragic movie-masturbation scenes, 18 songs about crappy cities, and much more, Inventory combines a massive helping of new lists created especially for the book with a few favorites first seen at avclub.com and in the pages of The A.V. Club's sister publication, The Onion. But wait! There's more: John Hodgman offers a set of minutely detailed (and probably fictional) character actors. Patton Oswalt waxes ecstatic about the "quiet film revolutions" that changed cinema in small but exciting ways. Amy Sedaris lists 50 things that make her laugh. "Weird Al" Yankovic examines the noises of Mad magazine's Don Martin. Plus lists from Paul Thomas Anderson, Robert Ben Garant, Tom Lennon, Andrew W.K., Tim and Eric, Daniel Handler, and Zach Galifianakis -- and an epic foreword from essayist Chuck Klosterman.

    His performances, particularly in the first 20 years of his career, are unparalleled. The Godfather, Taxi Driver, Mean Streets, The Deer Hunter, Raging Bull-all dazzled moviegoers-a talent the likes of which we have rarely or never seen. Yet so little is known about De Niro-he is an intensely private man, whose rare public appearances are often marked by inarticulateness and all-around awkwardness. It can be almost painful to watch at times, in such contrast to his on-screen personae. In this elegant and compelling biography, Shawn Levy writes of these many De Niros-of the characters, and of the man, seeking to understand an evolution of an actor who once used roles to hide the nature of his real life, and who now turns down those parts, instead to play characters who possess little challenge to his overwhelming talent. From De Niro's roots as the child of artists (often called Bobby Milk for his pasty complexion) to his marriages and life as a father, restauranteur, and philanthropist, and of course to his current movie career, Levy has written a biography that reads like a novel of a character whose inner turmoil takes him to heights of artistry. Among the many who have been key players in his career are the likes of Martin Scorcese, Francis Ford Coppola, Meryl Streep, John Cazale, and countless others who appear in the book.