My Own Private Idaho charts the pilgrimage of a narcoleptic hustler who is searching for his long-lost mother in a world absent of love.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    Unforgettable quotes, film stills, and original posters and memorabilia transport you to the world of each film, while narrative timelines and infographics explore central themes, characters, actors, and directors.Relive classics of the silent era, such as Nosferatu, along with wartime greats like Casablanca, transformative New Wave films such as Lawrence of Arabia and Easy Rider, and modern masterpieces like Do the Right Thing, City of God, and Gravity. Each movie is placed in the broader context of the industry and its key players, making it an invaluable resource for any film fanatic.The Movie Book zooms in on the best cinematic masterpieces of all time and is a must-have for anyone with a passion for films and the history of cinema.Big Ideas Simply Explained series uses creative design and innovative graphics, along with straightforward and engaging writing, to make complex subjects easier to understand. These award-winning books provide just the information needed for students, families, or anyone interested in concise, thought-provoking refreshers on a single subject.Reviews:"[The Big Ideas Simply Explained books] are beautifully illustrated with shadow-like cartoons that break down even the most difficult concepts so they are easier to grasp. These step-by-step diagrams are an incredibly clever learning device to include, especially for visual learners." - Examiner.com"Clever and engaging" - Booklist"Perfect coffee table fodder for your home theater." - Uncrate.com"[A] great refresher for films you haven't seen in a while and an even better resource for populating your watchlist with shows you may have missed." - GeekDad"Richly illustrated." - Parade.com"A fine introduction for budding film buffs." - School Library Journal

    In this festive holiday novella, Jules Hooker is having her first post-apocalyptic Christmas in the small French village of Chabanel when a mysterious stranger and an unholy secret from the past come together to try to ruin everybody’s holly jolly time.

    But when the baby dies of natural causes while under her roof, and knowing her neighbour will be devastated, Minnie swaps it with one of the infants in her care.Now seventeen, Jewel Nightingale knows nothing of her true origins. But assaulted by her hateful cousin and making the dreadful discovery that she is pregnant, she faces a desperate dilemma. Fleeing her job as a domestic maid, she follows an advertisement to a house in Bolton's dark slums, where a woman promises to help her when the child is born. Little does Jewel know that there’s a terrible price to pay . . .Can she keep herself – and her baby – safe? And what will happen when Jewel discovers the truth about where she came from? Gritty and page-turning historical saga set in Northern England in the late 1800s, perfect for fans of Dilly Court and Rosie Goodwin.

     Now Lord Barnard is dead and his son, Lord Charles, has come home from the crusades with the last of their men -- and Simon is not among them. Lord Charles claims Simon died saving his life. Melisende suspects there is more to the story. Left to fend for herself and her two young children, Melisende is determined to discover what really happened to Simon at the battle for Acre. The truth is far stranger and more unsettling than she could ever have imagined. If you enjoy true-to-life historical fiction based on real events, with all the passion, drama, and heartache of life in Medieval Europe, you’ll love The Lode Stone, written by multi-award-winning author Jane Ann McLachlan.

    

    Featuring new interviews with the original writers and filmmakers, Slash details the production's troubled history from the surprise ending of Jason Goes to Hell all the way to the crossover’s red carpet premiere. Read about the many rejected storylines and learn how the project was eventually able to escape from development hell. This is the story of one film, two horror icons and seventeen screenwriters!SLASH OF THE TITANS includes:- Comprehensive looks at ten different versions of the screenplay- Info on early crossover attempts by Friday the 13th filmmakers- Exclusive details on the never made Freddy vs Jason: Hell Unbound video game- Insights from producers, executives and developers including Sean Cunningham- An examination of why the Shannon/Swift script was finally greenlit- Summaries of the four endings considered for the 2003 film- Coverage of the never made Freddy vs Jason vs Ash sequel- New comments from the titans themselves: Robert Englund and Ken Kirzinger- Appendices full of story details including the outcomes of all ten versions

    Fabio Terranova is a brilliant dancer. Young, handsome, and enormously talented he is desperate to leave his little hometown in the mountains of central Italy. With dreams of one day making his mark on Broadway and Hollywood, he has made plans to travel to Milan to enter a dance competition he hopes will be his springboard to fame and fortune in America. All is set until the eve of his departure when a night of wild celebration with his friends ends in tragedy. Left broken in body and spirit, his dreams of dancing shattered by the events of that night, Fabio descends into bitter darkness. Fearing for her son, his mother, Liliana, makes a fateful decision. She sends Fabio across the ocean to live with her uncle, Rick Vitale, who runs a small glassmaking operation in a quaint New England village. Rick lives in solitude, his own reasons for abandoning Italy years earlier long shrouded in mystery. He takes Fabio in and sets about teaching him the art of glassblowing. Relentlessly driven, ever laboring by the searing heat of the furnace, Fabio learns to create dazzling works of glass. The endless hours of toil, however, provide him no solace and he remains tormented by the past, a past he can't bear to face. Now, with the days growing short and the darkness of winter closing in, it is up to Rick to show his nephew the way back to the light. But it is a long journey through the deepest chambers of the heart, one that Fabio must ultimately make on his own if he is to learn that the best days of his life may yet lie ahead...

    The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry.James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense.Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene--from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics--notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself.The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history--half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.

    His dream is to be admitted to the elite detective bureau of Amsterdam’s police force, but he knows he needs to prove himself as a uniformed officer first.That is, until he is sent to interview witnesses of an audacious kidnapping in the city centre: Alfred Heineken, head of the brewery corporation, has been snatched by shadowy assailants and driven at speed from the scene. Is this really just about a ransom or is there any truth to the rumour that West German terrorists are involved? The case is far beyond van der Pol’s rank but his instincts tell him to do everything in his modest power to solve it—even if it means putting his own life at risk.From the bestselling author of The Harbour Master, Initiation introduces Daniel Pembrey’s beloved detective as a green young officer at the very start of his career, determined to outwit criminals and his superiors alike, in a first case that could well have been his last.

    Clarke created this cinematic masterpiece.Regarded as a masterpiece today, 2001: A Space Odyssey received mixed reviews on its 1968 release. Despite the success of Dr. Strangelove, director Stanley Kubrick wasn’t yet recognized as a great filmmaker, and 2001 was radically innovative, with little dialogue and no strong central character. Although some leading critics slammed the film as incomprehensible and self-indulgent, the public lined up to see it. 2001’s resounding commercial success launched the genre of big-budget science fiction spectaculars. Such directors as George Lucas, Steven Spielberg, Ridley Scott, and James Cameron have acknowledged its profound influence.Author Michael Benson explains how 2001 was made, telling the story primarily through the two people most responsible for the film, Kubrick and science fiction legend Arthur C. Clarke. Benson interviewed Clarke many times, and has also spoken at length with Kubrick’s widow, Christiane; with visual effects supervisor Doug Trumbull; with Dan Richter, who played 2001’s leading man-ape; and many others.A colorful nonfiction narrative packed with memorable characters and remarkable incidents, Space Odyssey provides a 360-degree view of this extraordinary work, tracking the film from Kubrick and Clarke’s first meeting in New York in 1964 through its UK production from 1965-1968, during which some of the most complex sets ever made were merged with visual effects so innovative that they scarcely seem dated today. A concluding chapter examines the film’s legacy as it grew into it current justifiably exalted status.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Though already a widely acclaimed novelist, the author of such modern classics as "The Orchard Keeper" and "Child of God," McCarthy had never before written a screenplay. Using nothing more than a few photographs in the footnotes to a 1928 biography of a famous pre-Civil War industrialist as inspiration, the author and Pearce together roamed the mill towns of the South researching their subject. One year later McCarthy finished "The Gardener's Son," a taut, riveting drama of impotence, rage, and ultimately violence spanning two generations of mill owners and workers, fathers and sons, during the rise and fall of one of America's most bizarre utopian industrial experiments. Produced as a two-hour film and broadcast on PBS in 1976, "The Gardener's Son" recieved two Emmy Award nominations and was shown at the Berlin and Edinburgh Film Festivals. This is the first appearance of the film script in book form.Set in Graniteville, South Carolina, "The Gardener's Son" is the tale of two families: the Greggs, a wealthy family that owns and operates the local cotton mill, and the McEvoys, a family of mill workers beset by misfortune. The action opens as Robert McEvoy, a young mill worker, is having his leg amputated -- the limb mangled in an accident rumored to have been caused by James Gregg, son of the mill's founder. McEvoy, crippled and isolated, grows into a man with a "troubled heart"; consumed by bitterness and anger, he deserts both his job and his family. Returning two years later at the news of his mother's terminal illness, Robert McEvoy arrives only to confront the grave diggers preparing her final resting place. His father, the mill's gardener, is now working on the factory line, the gardens forgotten. These proceedings stoke the slow burning rage McEvoy carries within him, a fury that ultimately consumes both the McEvoys and the Greggs.

    He shows how broad Tarantino's points of reference are, and analyzes the narrative accomplishment and complexity. In addition, Polan argues that macho attitudes celebrated in film are much more complex than they seem.