(“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls ?the king of the monster hunters?). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.

    New thought and new dialogue: a book that will teach in the most multiple sense of that word: a book that will be of lasting value to many diverse communities of women as well as to students from those communities. The authors explore a full spectrum of present concerns in over seventy pieces that vary from writing by new talents to published pieces by Audre Lorde, Joy Harjo, Norma Alarcón and Trinh T. Minh-ha."At one level or another, all the work in the collection seeks to find ways to understand and articulate our multiple identities and senses of place….Making Face/Making Soul is an exciting collection of dynamic, important writings that all women of color and white feminists will learn from, enjoy, and return to again and again and again."—Sojourner"...the pieces are stunning in what they risk and reveal..."—The San Francisco Chronicle

    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.

    Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.

    What must we do to work out who we are, and where we belong? How do we find the space to grow, unite and confront the systems of oppression? This conflict can be found in the fissures between the body, gender and identity. Too often, the glitch is considered a mistake, a faulty overlaying, a bug in the system; in contrast, Russell compels us to find liberation here. In a radical call to arms Legacy Russell argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender, race, sexuality.Glitch Feminism is a vital new chapter in cyberfeminism, one that explores the relationship between gender, technology and identity. In an urgent manifesto, Russell reveals the many ways that the Glitch performs and transforms: how it refuses, throws shade, ghosts, errs, encrypt, mobilizes and survives. Developing the argument through memoir, art and critical theory, Russell also looks at the work of contemporary artists who travel through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.

    It chronicles the good with the ugly, revealing the great power McQueen wielded. It features numerous behind-the-scenes stories from some of his (and cinema's) greatest films, including The Magnificent Seven, The Great Escape, The Sand Pebbles, The Thomas Crown Affair, Bullitt, The Getaway, and Papillon. The book's triumph is the way in which the author explores McQueen in full through his larger-than-life exploits but as important, the lesser known, humanitarian side of the Hollywood legend. It also captures the fundamental essence of what made McQueen cinema's "King of Cool."

    Schulman takes us back to her Lower East Side and brings it to life, filling these pages with vivid memories of her avant-garde queer friends and dramatically recreating the early years of the AIDS crisis as experienced by a political insider. Interweaving personal reminiscence with cogent analysis, Schulman details her experience as a witness to the loss of a generation’s imagination and the consequences of that loss.

    As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.

    From The Cabinet of Dr. Caligari onwards the principal films of this period were characterized by two influences: literary Expressionism, and the innovations of the theatre directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings. It discusses the influence of the theatre: the handling of crowds; the use of different levels, and of selective lighting on a predominately dark stage; the reliance on formalized gesture; the innovation of the intimate theatre. Against this background the principal films of the period are examined in detail. The author explains the key critical concepts of the time, and surveys not only the work of the great directors, such as Fritz Lang and F. W. Murnau, but also the contribution of their writers, cameramen, and designers. As The Times Literary Supplement wrote, 'Mme. Eisner is first and foremost a film critic, and one of the best in the world. She has all the necessary gifts.' And it described the original French edition of this book as 'one of the very few classics of writing on the film and arguably the best book on the cinema yet written.'

    The fifty-year career of John Ford (1895-1973) included six Academy Awards, four New York Film Critics' Awards, and some of our most memorable films, among them The Informer (1934), The Grapes of Wrath (1940), The Quiet Man (1952), The Long Gray Line (1955), and The Wings of Eagles (1957). In addition, the name John Ford was practically synonymous with the great Westerns that came out of Hollywood for many years-- Stagecoach (1939), She Wore a Yellow Ribbon (1949), Rio Grande (1950), The Searchers (1956), and The Man Who Shot Liberty Valance (1962), for example. After his death a European newspaper mourned ford as "the creator of the Western," although many of his finest films were far removed from that genre. Combining interviews with John Ford with his own reflections, director Peter Bogdanovich captures both the artist and the man in a highly readable, compact book that will please film lovers and Ford admirers alike. Over a hundred stills are included, along wit hthe most completed filmography yet compiled for John Ford.

    In The Barbie Chronicles, twenty-three writers join together to scrutinize Barbie's forty years of hateful, lovely disastrous, glorious influence on us all. No other tiny shoulders have ever, had to carry the weight of such affection and derision and no other book has ever paid this notorious little place of plastic her due. Whether you adore her or abhor her, The Barbie Chronicles will have you looking at her in ways you never imagined.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.