Owen Gleiberman has spent his life watching movies-first at the drive-in, where his parents took him to see wildly inappropriate adult fare like Rosemary's Baby when he was a wide-eyed 9 year old, then as a possessed cinemaniac who became a film critic right out of college. In Movie Freak, his enthrallingly candid, funny, and eye-opening memoir, Gleiberman captures what it's like to live life through the movies, existing in thrall to a virtual reality that becomes, over time, more real than reality itself. Gleiberman paints a bittersweet portrait of his complicated and ultimately doomed friendship with Pauline Kael, the legendary New Yorker film critic who was his mentor and muse. He also offers an unprecedented inside look at what the experience of being a critic is really all about, detailing his stint at The Boston Phoenix and then, starting in 1990, at EW, where he becomes a voice of obsession battling-to a fault-to cling to his independence. Gleiberman explores the movies that shaped him, from the films that first made him want to be a critic (Nashville and Carrie), to what he hails as the sublime dark trilogy of the 1980s (Blue Velvet, Sid and Nancy, and Manhunter), to the scruffy humanity of Dazed and Confused, to the brilliant madness of Natural Born Killers, to the transcendence of Breaking the Waves, to the pop rapture of Moulin Rouge! He explores his partnership with Lisa Schwarzbaum and his friendships and encounters with such figures as Oliver Stone, Russell Crowe, Richard Linklater, and Ben Affleck. He also writes with confessional intimacy about his romantic relationships and how they echoed the behavior of his bullying, philandering father. And he talks about what film criticism is becoming in the digital age: a cacophony of voices threatened by an insidious new kind of groupthink. Ultimately, Movie Freak is about the primal pleasure of film and the enigmatic dynamic between critic and screen. For Gleiberman, the moving image has a talismanic power, but it also represents a kind of sweet sickness, a magnificent obsession that both consumes and propels him.

    When the house lights go down and the lion roars, we settle in to be shocked, frightened, elated, moved, and thrilled. We expect magic. While we’re being exhilarated and terrified, our minds are also processing data of all sorts—visual, linguistic, auditory, spatial—to collaborate in the construction of meaning.Thomas C. Foster’s Reading the Silver Screen will show movie buffs, students of film, and even aspiring screenwriters and directors how to transition from merely being viewers to becoming accomplished readers of this great medium. Beginning with the grammar of film, Foster demonstrates how every art form has a grammar, a set of practices and if-then propositions that amount to rules. He goes on to explain how the language of film enables movies to communicate the purpose behind their stories and the messages they are striving to convey to audiences by following and occasionally breaking these rules.Using the investigative approach readers love in How to Read Literature Like a Professor, Foster examines this grammar of film through various classic and current movies both foreign and domestic, with special recourse to the “AFI 100 Years-100 Movies” lists. The categories are idiosyncratic yet revealing.In Reading the Silver Screen, readers will gain the expertise and confidence to glean all they can from the movies they love.

      The real-life scandals of Hollywood’s personalities rival any drama they bring to life on the silver screen. This book provides 365 daily doses of high and low crimes, fraud and deceit, culled from Tinseltown’s checkered past.   Whether it’s the exploits of silent-era star Fatty Arbuckle, the midcentury misdeeds of Frank Sinatra and Marilyn Monroe, or the modern excesses of Lindsay Lohan, this calendar of Hollywood transgressions has a sensational true tale for every day of the year. It’s an entertaining and sometimes shocking trip down memory lane filled with sneaky affairs, box-office bombs, and careers cut short—sometimes by murder. It shows that the drama doesn’t end when the credits roll.

    He uproots his family—including his wife, Regina, a painter with whom he shares a pact to always honor each other’s artistic pursuits—and moves to California.What follows is a funny and ultimately moving account of ridiculous bad timing and luck. In a monumental first step, Pollack accidentally options his life rights to a major film studio. From afar he watches as his new hipster-parenting memoir, Alternadad, garners actual vitriol from the national press. The Writer’s Guild goes on strike as soon as Pollack becomes a member, and—in his breakthrough moment—he stands before the head of comedy development at HBO to deliver his pitch…and forgets what he has to say.Not Coming Soon to a Theater Near You is a lighthearted look at one man’s ill-fated worming into the heart of Hollywood, the Silver Lake School District, and Los Angeles at large, but it also reveals a darn good marriage under significant duress.

    Founded in 1951, it was responsible for establishing film as the ‘seventh art,’ equal to literature, painting or music, and it revolutionized film-making and writing. Its contributors would put their words into action: the likes of Godard, Truffaut, Rivette, Rohmer were to become some of the greatest directors of the age, their films part of the internationally celebrated nouvelle vague.In this authoritative new history, Emilie Bickerton explores the evolution and impact of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its response to the television age of the seventies and eighties. Showing how the story of Cahiers continues to resonate with critics, practitioners and the film-going public, A Short History of Cahiers du Cinéma is a testimony to the extraordinary legacy and archive these ‘collected pages of a notebook’ have provided for the world of cinema.

    Though at first Star Wars seems a simple fairy-tale, it becomes far more complex when we realize that the director is rooting for both sides, creating a tension unsettles the saga as a whole and illuminates new sides of Lucas' masterpiece.

    From his marriage to Ali McGraw, his cocaine bust, the accusations of murder, the friendships with the likes of Jack Nicholson and Dustin Hoffman, to his legendary court case and bust up with Francis Ford Coppola, this is the tell-all autobiography from Robert Evans, the legendary Hollywood producer (The Godfather, Rosemary's Baby and Chinatown) who's lived the Hollywood dream.

    But on October 3rd, 2012, ITV broadcast an investigation into Savile's behavior called Exposure: The Other Side of Jimmy Savile. In it they revealed the true, predatory, and evil man behind the popular TV persona. In the documentary, several women alleged he sexually abused them when they were underage. This sparked a flurry of allegations in the following days and weeks from other alleged victims. So far police have been called to investigate reports of abuse on young children from as long ago as 1959 and anticipate the number of victims to be in the region of 300. But how Savile was allowed to get away with such monstrous crimes for so long has been the subject of immense debate and has led to the investigations of several British institutions. The BBC has been criticized and is hosting an internal investigation into how Savile's behavior was never called into question and how abuse allegations during his long career at the corporation failed to be flagged. An investigation is also underway into the canceling of a Newsnight program in 2011. The Department of Health has also said it will investigate its own conduct in appointing Savile to lead a "taskforce" overseeing the management of high security psychiatric hospital Broadmoor in 1998. Abuse is also alleged to have taken place at Stoke Mandeville Hospital and Leeds General Infirmary, where Savile volunteered. This is a well researched and informative look at how a predatory pedophile was allowed to go unnoticed for so long and to breach a nation's trust is such a cruel and evil way

    Rebello takes us behind the scenes for every step in the creation of this cinematic masterpiece-from the story's original inspiration to the controversy surrounding the creation of the famous shower scene. Drawing on new in-depth interviews as well as Hitchcock's private files, Alfred Hitchcock and the Making of Psycho is an eye-opening portrait of the artist at work.

    The film—in which a group of teenagers meet a gruesome end when they stumble upon a ramshackle farmhouse of psychotic killers—was outright banned in several countries and was pulled from many American theaters after complaints of its violence.Despite the mixed reception from critics, it was enormously profitable at the domestic box office and has since secured its place as one of the most influential horror movies ever made.Joseph Lanza transports the reader back to the tumultuous era of the 1970s defined by political upheaval, cultural disillusionment, and the perceived decay of the nuclear family in the wake of Watergate, the onslaught of serial killers in the US, as well as mounting racial and sexual tensions. The Texas Chainsaw Massacre and Its Terrifying Times sets the themes of the film against the backdrop of the political and social American climate to understand why the brutal slasher flick connected with so many viewers. As much a book about the movie as the moment,Joseph Lanza has created an engaging and nuanced work that grapples with the complications of the American experience.

    Broccoli’s Eon Productions has navigated the ups and downs of the volatile British film industry, enduring both critical wrath and acclaim in equal measure for its now legendary James Bond series. Latterly, this family-run business has been crowned with box office gold and recognized by motion picture academies around the world. However, it has not always been smooth sailing. Changing tax regimes forced 007 to relocate to France and Mexico; changing fashions and politics led to box office disappointments; and changing studio regimes and business disputes all but killed the franchise while the rise of competing action heroes displaced Bond’s place in popular culture. But against all odds the filmmakers continue to wring new life from the series, and 2012’s Skyfall saw both huge critical and commercial success, crowning 007 as the undisputed king of the action genre. Some Kind of Hero recounts this remarkable story, from its origins in the early 1960s right through to the present day, and draws on hundreds of unpublished interviews with the cast and crew of this iconic series.

    Presents an intimate portrait of the legendary comedian by a young fan who became Groucho's personal secretary during the last three years of the comedian's life.

    Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me.In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately.From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).

    In the past decade, Hollywood has endured a cataclysm on a par with the end of silent film and the demise of the studio system. Stars and directors have seen their power dwindle, while writers and producers lift their best techniques from TV, comic books, and the toy biz. The future of Hollywood is being written by powerful corporate brands like Marvel, Amazon, Netflix, and Lego, as well as censors in China.Ben Fritz chronicles this dramatic shakeup with unmatched skill, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He dives deeply into the fruits of the Sony hack to show how the previous model, long a creative and commercial success, lost its way. And he looks ahead through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, Imax, and others to discover how they have reinvented the business. He shows us, for instance, how Marvel replaced stars with “universes,” and how Disney remade itself in Apple’s image and reaped enormous profits.But despite the destruction of the studios’ traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what our movies will look like in the new era.

    It connects the roles played by industry critics and audiences in making and re-making genre. In a critique of major voices in the history of genre theory from Aristotle to Wittgenstein, Altman reveals the conflicting stakes for which the genre game has been played. Recognizing that the very term "genre" has different meaning for different groups, he bases his genre theory on the uneasy competitive yet complimentary relationship among genre users and discusses a range of films from "The Great Train Robbery" to "Star Wars", and from "The Jazz Singer" to "The Player".