It was to be an age of post-Impressionistic color, form and wonderment that the art world discovered only after the master's death. Bouts of anxiety, mental illness and epilepsy may have tormented him and brought about his suicide at the age of 37. But they may also have been catalysts for emotionality and vibrance in his art that reveal a turbulent search for grace.The compilation of Vincent Van Gogh's 500 finest color paintings in this online volume comes to you in a digitally restored state: the eye-popping brilliance and vitality are just as on the day Van Gogh finished them. Unless noted otherwise, all of them were originally oil paintings on canvas or wood (the few exceptions are watercolors). The arrangement is by genre (see the list below) and is chronological within each genre section. There are a few duplicates, that is, some paintings from one genre are also shown within the scope of another genre in order to emphasize their "dual nature." This is especially true for the images in "Skyscapes," many of which are reprised from "Landscapes" or other relevant genres to afford you, the viewer, with a fresh perspective on a different aspect of the composition.Technical Note: All 500 images are in color -- they render beautifully in optimized gray-scale tones for black-and-white e-book readers, but exhibit even more stunningly in full color with color readers and inside Kindle apps for color-enabled computers and portable or hand-held devices.The masterpieces are organized into the following genres (with the tally of images in each):PORTRAITS (24)SELF-PORTRAITS (18)CHARACTER AND ACTION STUDIES (31)LABORERS (37)TOWNSCAPES: FROM A DISTANCE (17)TOWNSCAPES: FROM INSIDE THE TOWN (30)BUILDINGS: FROM AN EXTERIOR PERSPECTIVE (35)BUILDINGS: INTERIOR DESIGN (17)BIRDS (2)ANIMALS (7)FLOWERS AND GARDENS: LIVING AND GROWING (20)FLOWERS: FLORAL ARRANGEMENTS (29)STILL LIFE (45)TREES (50)LANDSCAPES (50)WATERSCAPES: THE SEA (6)WATERSCAPES: RIVERS, CANALS AND BRIDGES (23)SKYSCAPES (38)NIGHTSCAPES: AT SUNSET (14)NIGHTSCAPES: BY MOONLIGHT (3)NIGHTSCAPES: STARRY NIGHTS (5)NIGHTSCAPES: AT SUNRISE (1)

    J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.   “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum

    Pictures based on the DC Comics antihero team. Along with photos of the cast and crew, this lavish full-color official tie-in book will contain behind-the-scenes stories and images, removable items, and more, making it a must have keepsake for every fan!They are the worst of the worst, a task force of the most dangerous people on the planet—incarcerated Super Villains unleashed to do some good. Assembled by U.S. intelligence officer Amanda Waller and armed with the most powerful arsenal at the government’s disposal, the Squad is sent on a seemingly impossible top-secret mission: eradicate a powerful, enigmatic threat.But once they realize they weren’t picked to succeed but chosen for their patent culpability, will the members of the Suicide Squad choose to die trying—or decide it’s every man for himself?The blockbuster movie has a star-studded cast that includes Will Smith as Floyd Lawton/Deadshot, Jared Leto as The Joker, Margot Robbie as Harley Quinn, Joel Kinnaman as Rick Flag, Viola Davis as Amanda Walker, and many more.Special interactive and removable items in the book include a blueprint of Belle Reve prison, replicas of letters from Deadshot’s daughter to her father, a Joker playing card and Joker temporary tattoos, a poster of the Suicide Squad, 6 postcards, a 16-page dossier and much more.SUICIDE SQUAD and all related characters and elements © and TM DC Comics and Warner Bros. Entertainment Inc. (s16)

    Producer Michael Deeley, an urbane Englishman in Hollywood, had to fight wars to get these movies made, from defending the legendary sex scene of Don't Look Now from a disapproving Warren Beatty to seizing control of Convoy from a cocaine-ridden Sam Peckinpah. This is a no-holds-barred look at the true stories behind some of the greatest cult movies ever made.

    When Robin Wood returned to his writings in Hitchcock's films and published Hitchcock's Films Revisited in 1989, the multidimensional essays took on a new shape―one tempered by Wood's own development as a critic.This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a film scholar―including his coming out as a gay man, his views on his previows critical work, and how his writings, his love of film, and his personal life have remained deeply intertwined through the years. This revised edition includes all eighteen original essays and a new chapter on Marnie titled "You Freud, Me Hitchcock: Does Mark Cure Marnie?"

    In concrete terms it explains how you can create your own success and, in the process, entertain, delight, challenge, and uplift this generation and the ones to come.

    This series of photography books by designer Oldham highlights remarkable people, places, and spaces and feature essays by noted critics and cultural figures.

    Strangelove, 2001: A Space Odyssey, and A Clockwork Orange. From their first meeting at an advance screening of The Shining in 1980, Kubrick and Herr began an intense intellectual exchange that grew into the artistic collaboration that ultimately produced the groundbreaking Vietnam film Full Metal Jacket.Filled with personal insights and previously untold anecdotes, Kubrick is a probing view into the inner life of a man whose creative passion and powerful intellect changed the art of filmmaking forever -- and of the complicated, often misunderstood man behind the art.

    Whether posing kittenishly in a pinup shot or dramatically for a classic portrait, this shy, vulnerable, enormously insecure woman was transformed by the lens.Marilyn posed for nearly every major photographer of her day, and this pictoral chronicle of her affair with the camera, featuring shots from Richard Avedon, Cecil Beaton, Henri Cartier-Bresson, Alfred Eisentaedt, Elliott Erwitt, Philippe Halsman, Weegee, and thirty other artists, brings together the most beautiful and unusual images available. From her early days as a "fashion model" for ads and pinup calendars, through the film stills that follow her career as a minor actress and then major starlit, to the now-famous portraits by Avedon, and Cecil Beaton, as well as the paparazzi shots from the hordes of photographers who trailed her every move -- Marilyn emerges in all her many moods: girlish and gay, sexy and serious, glamorous and girl-next-door. And, in a fascinating and revealing interview with French writer George Belmont, Marilyn sets the record straight about much of her early life, and about her ambitions, fears, and dreams. Jane Russell, Marilyn's friend and costar in Gentlemen Prefer Blondes, enhances this portrait with an affectionate foreword that describes what it was like to work with the young actress. Although we will never know the "real" Marilyn, this sumptuous volume goes a long way toward preserving the memory of an utterly unforgettable woman.

    Now, at last, he's opening up the Stan Winston Studio to collaborate on the first-ever book to reveal all the behind-the-scenes secrets of his groundbreaking and hugely influential artistry and effects work. Featuring an extensive array of sketches, production art, and photographs straight from the studio archives, this is the book his fans have been waiting for!

    Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film.

    As told by Corman himself and graduates of “The Corman Film School,” including Peter Bogdanovich, James Cameron, Francis Ford Coppola, Robert De Niro, and Martin Scorsese, this comprehensive oral history takes readers behind the scenes of more than six decades of American cinema, as now-legendary directors and actors candidly unspool recollections of working with Corman, continually one-upping one another with tales of the years before their big breaks.Crab Monsters is supplemented with dozens of full-color reproductions of classic Corman movie posters; behind-the-scenes photographs and ephemera (many taken from Corman’s personal archive); and critical essays on Corman’s most daring films—including The Intruder, Little Shop of Horrors, and The Big Doll House— that make the case for Corman as an artist like no other. Praise for Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses: “This new coffee table book, brimming with outrageous stills from many of Corman’s hundreds of films, looks at the wild career of the starmaker who was largely responsible for so much of the Hollywood we know today.” —New York Post “Vividly illustrated.” —People “An enthusiastic ode to colorful, seat-of-your-pants filmmaking, this one’s hard to beat.” —Booklist (starred review) “It includes in-depth aesthetic appreciations of ten of Corman’s movies, which, taken together, make a compelling case for Corman as an artist.” —Hollywood.com “Author Nashawaty deftly describes how Corman’s legacy is far more nuanced than most realize.” —American Way magazine “Outrageously entertaining . . .”  —Parade magazine “Endlessly fascinating.” —PopMatters.com “You’d think it’d be impossible for any writer to put together a Roger Corman biography that's anywhere near as fun as his movies, but Entertainment Weekly writer/critic Chris Nashawaty has done just that.”  —Complex magazine

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    Winner of the Los Angeles Times Book Award for history, this "wonderful history of the golden age of the movie moguls" (Chicago Tribune ) is a provocative, original, and richly entertaining group biography of the Jewish immigrants who were the moving forces behind the creation of America's motion picture industry.

    The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.