Now, for the first time ever, Vanity Fair presents a one-of-a-kind collection featuring thirteen behind-the- scenes stories on some of cinema's most iconic films-including pictures as varied as All About Eve, Cleopatra, Sweet Smell of Success, Rebel Without a Cause, and Saturday Night Fever. For pop-culture fanatics and movie buffs alike, Vanity Fair's Tales of Hollywood is an irresistible glimpse at how classic films-and box office bombs-are made.

    The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

    But what had been largely an Ivy League phenomenon has, in the past fifteen years, exploded. And it's not what you think. There are now more than 1,200 a cappella groups at colleges across the country. The very best of these collegiate groups square off in the annual International Championship of Collegiate A Cappella showdown marked by wrenching close calls and exhilarating triumphs. And, really, where else can you hear Michael Jackson's Bad in four-part harmony? In Pitch Perfect, GQ editor Mickey Rapkin follows a season in a cappella through all its twists and turns, covering the breathtaking displays of vocal talent, the groupies (yes, a cappella singers have groupies), the rockstar partying (and run-ins with the law), and all the bitter rivalries. Along the way are encounters with boldfaced names such as President George W. Bush, Prince, David Letterman, Barack Obama, Barbra Streisand, Hillary Clinton, Marisa Tomei, Amanda Bynes, Nick Lachey, Merv Griffin, Jim Carrey, Microsoft's Paul Allen, John Legend, and Jessica Biel. At the heart of the narrative are three a cappella groups whose interactions are anything but harmonious: the historic Tufts Beelzebubs, founded more than forty years ago with 40,000 albums sold since, and struggling to record a new album that lives up to the hype; Divisi of the University of Oregon, a relatively new, all-female group attempting to overcome a loss in the 2005 championship; and the University of Virginia Hullabahoos, the so-called bad boys of collegiate a cappella, who will attempt to compete on a higher level this year while retaining their casual soul. Bringing a lively new twist to America's fascination with talent showdowns and peerless performers, Pitch Perfect is sure to strike a chord with readers.

    On the Lower East Side, two boys playing at a pier discover a floating human torso wrapped tightly in oilcloth. Blueberry pickers near Harlem stumble upon neatly severed limbs in an overgrown ditch. Clues to a horrifying crime are turning up all over New York, but the police are baffled: There are no witnesses, no motives, no suspects.The grisly finds that began on the afternoon of June 26, 1897, plunged detectives headlong into the era's most baffling murder mystery. Seized upon by battling media moguls Joseph Pulitzer and William Randolph Hearst, the case became a publicity circus. Reenactments of the murder were staged in Times Square, armed reporters lurked in the streets of Hell's Kitchen in pursuit of suspects, and an unlikely trio — a hard-luck cop, a cub reporter, and an eccentric professor — all raced to solve the crime.What emerged was a sensational love triangle and an even more sensational trial: an unprecedented capital case hinging on circumstantial evidence around a victim whom the police couldn't identify with certainty, and who the defense claimed wasn't even dead. The Murder of the Century is a rollicking tale — a rich evocation of America during the Gilded Age and a colorful re-creation of the tabloid wars that have dominated media to this day.

    The author recalls the '50s, when the invasion of movie houses by monsters became a national youth craze. 140 photos.

    Los Angeles that year, in fact, dominated popular culture more than it ever had before, or would again. Working in film, recording, and television studios around Sunset Boulevard, living in Brentwood and Beverly Hills or amid the flickering lights of the Hollywood Hills, a cluster of transformative talents produced an explosion in popular culture which reflected the demographic, social, and cultural realities of a changing America. At a time when Richard Nixon won two presidential elections with a message of backlash against the social changes unleashed by the sixties, popular culture was ahead of politics in predicting what America would become. The early 1970s in Los Angeles was the time and the place where conservatives definitively lost the battle to control popular culture.Rock Me on the Water traces the confluence of movies, music, television, and politics in Los Angeles month by month through that transformative, magical year. Ronald Brownstein reveals how 1974 represented a confrontation between a massive younger generation intent on change, and a political order rooted in the status quo. Today, we are again witnessing a generational cultural divide. Brownstein shows how the voices resistant to change may win the political battle for a time, but they cannot hold back the future.

    She was the first woman to twice win an Academy Award for screenwriting. From 1916 to 1946 she wrote over two hundred scripts covering every conceivable genre for stars such as Mary Pickford, Gary Cooper, Greta Garbo, Marion Davies, Rudolph Valentino, Clark Gable, Marion Davies, Rudolph Valentino, Clark Gable, and Marie Dressler. Irving Thalberg "adored her and trusted her completely, " William Randolph Hearst named her for the head of west coast production for his Cosmopolitan studios, and in 1928, Sam Goldwyn raised her salary to an unparalleled $3,000 a week. Her stories were directed by George Cukor, John Ford, Alan Dwan, and King Vidor, and she went on to direct and produce a dozen films on her own. On top of all this, she painted, sculpted, spoke several languages fluently, and played "concert caliber" piano. Though she married four times, had two sons, and a dozen lovers, Frances's life story is mostly the story of her female friendships. As talented, successful, and prolific as Frances Marion was, these relationships were as legendary as her scripts. Without Lying Down is an eminently readable and meticulously documented portrait of a previously hidden era that was arguably one of the most creative and supportive for women in American history.

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    Their romance on and off screen made them Hollywood's most celebrated couple and together they produced some of the most electric scenes in movie history. But when Bogart died of cancer in 1957, Bacall had to find a way of living beyond the fairytale and ironic way she had evolved. In a time of post war communism, Hollywood blacklisting and revolutionary politics she moved with the legends: Hemingway, the Oliviers, Katharine Hepburn, Bobby Kennedy, an engagement to Frank Sinatra and a second turbulent marriage to Jason Robards. Now at 80, BY MYSELF AND THEN SOME brings her story up to date including her recent films and Broadway runs, fond memories of her children and many close lifelong friendships, not least the greatest love of her life, Humphrey Bogart.

    Sixteen Candles, The Breakfast Club, Weird Science, Pretty in Pink, Ferris Bueller's Day Off, and Some Kind of Wonderful are timeless tales of love, angst, longing, and self-discovery that illuminated and assuaged the anxieties of an entire generation. Fondly nostalgic, filled with wit and surprising insights, don't you forget about me contains original essays from a skillfully chosen crop of novelists and essayists on the films' far-reaching effects on their own lives -- an irresistible read for anyone who came of age in the eighties (or just wishes they did). Featuring new writing from: Steve Almond * Julianna Baggott * Lisa Borders * Ryan Boudinot * T Cooper * Quinn Dalton * Emily Franklin * Lisa Gabriele * Tod Goldberg * Nina de Gramont * Tara Ison * Allison Lynn * John McNally * Dan Pope * Lewis Robinson * Ben Schrank * Elizabeth Searle * Mary Sullivan * Rebecca Wolff * Moon Unit Zappa

    Having blasted onto the small screens with his now legendary sitcom Spaced, his rise to nation's favourite son status has been mercurial, meteoric, megatronnic, but mostly just plain great.From his childhood (and subsequently adult) obsession with Star Wars, his often passionate friendship with Nick Frost, and his forays into stand-up which began with his regular Monday morning slot in front of his 12-year-old classmates, this is a joyous tale of a homegrown superstar and a local boy made good.

    Putting him at the center of a new generation of leading men emerging in the early 1990s— including Johnny Depp, Keanu Reeves, Brad Pitt, Nicolas Cage, and Leonardo DiCaprio—Gavin Edwards traces the Academy Award nominee’s meteoric rise, couches him in an examination of the 1990s, and illuminates his lasting legacy on Hollywood and popular culture itself.

    Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

    Buck-toothed and cursed by shyness, Ripley turned his sense of being an outsider into an appreciation for the strangeness of the world. After selling his first cartoon to Time magazine at age eighteen, more cartooning triumphs followed, but it was his “Believe It or Not” conceit and the wildly popular radio shows it birthed that would make him one of the most successful entertainment figures of his time and spur him to search the globe’s farthest corners for bizarre facts, exotic human curiosities, and shocking phenomena.Ripley delighted in making outrageous declarations that somehow always turned out to be true—such as that Charles Lindbergh was only the sixty-seventh man to fly across the Atlantic or that “The Star Spangled Banner” was not the national anthem. Assisted by an exotic harem of female admirers and by ex-banker Norbert Pearlroth, a devoted researcher who spoke eleven languages, Ripley simultaneously embodied the spirit of Peter Pan, the fearlessness of Marco Polo and the marketing savvy of P. T. Barnum.In a very real sense, Ripley sought to remake the world’s aesthetic. He demanded respect for those who were labeled “eccentrics” or “freaks”—whether it be E. L. Blystone, who wrote 1,615 alphabet letters on a grain of rice, or the man who could swallow his own nose.By the 1930s Ripley possessed a vast fortune, a private yacht, and a twenty-eight room mansion stocked with such “oddities” as shrunken heads and medieval torture devices, and his pioneering firsts in print, radio, and television were tapping into something deep in the American consciousness—a taste for the titillating and exotic, and a fascination with the fastest, biggest, dumbest and most weird. Today, that legacy continues and can be seen in reality TV, YouTube, America’s Funniest Home Videos, Jackass, MythBusters and a host of other pop-culture phenomena. In the end Robert L. Ripley changed everything. The supreme irony of his life, which was dedicated to exalting the strange and unusual, is that he may have been the most amazing oddity of all.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.