Talking candidly about his entire career; his acting, writing and directing, and the many tussles he has faced with Hollywood moguls, this is Bruce Robinson as you've never seen or heard him before.'The most purely likeable book about cinema I have ever read. Robinson talks about his profession in a way that is astonishingly clear-headed, funny and wise' David Hare, Guardian, Books of the Year

    This edition is expanded to include essays which explore "neo-noir", postmodernism and other trends.

    Sarris's The American Cinema, the bible of auteur studies, is a history of American film in the form of a lively guide to the work of two hundred film directors, from Griffith, Chaplin, and von Sternberg to Mike Nichols, Stanley Kubrick, and Jerry Lewis. In addition, the book includes a chronology of the most important American films, an alphabetical list of over 6000 films with their directors and years of release, and the seminal essays "Toward a Theory of Film History" and "The Auteur Theory Revisited." Over twenty-five years after its initial publication, The American Cinema remains perhaps the most influential book ever written on the subject.

    Made specifically for the small screen, within the tight constraints of broadcasting standards, what these humble movies lacked in budget and star appeal, they made up for in other ways. Often they served as an introduction to genre films, particularly horror, mirroring their theatrical counterparts with a focus on sinister cults, women in prison, haunted houses and even animals in revolt. They were also a place to address serious contemporary issues - drugs, prostitution, sexual violence and justice -albeit in a cosy domestic environment. Production of telefilms continues to this day, but their significance within the history of mass media remains under-discussed. Are You in the House Alone? seeks to address this imbalance in a series of reviews and essays by fans and critics. It looks at many of the films, the networks and names behind them, and also specific genres - everything from Stephen King adaptations to superheroes to true-life dramas. So, kickback and crack open the TV guide once more for the event that is the Movie of the Week!

    Many films later, he still works outside the studio system and guides every phase of his productions.Now Sayles has written an illuminating book about the complex choices that lie at the heart of every movie. Using the making of his film Matewan as an example, he offers chapters on screenwriting, directing, editing, sound, and more. Photographs, sketches, and the complete shooting script illustrate this engaging account of how Sayles's curiosity about a coal miners' strike in the town of Matewan, West Virginia, became a screenplay--and then a movie.

    "Twilight," "True Blood," "Being Human," "The Vampire Diaries," "Buffy the Vampire Slayer," "Blade," "Underworld," and the novels of Anne Rice and Darren Shan--against this glut of bloodsuckers, it takes an incredible film to make a name for itself. Directed by Tomas Alfredson and adapted for the screen by John Ajvide Lindqvist, The Swedish film "L't den r?tte komma in" (2008), known to American audiences as "Let the Right One In," is the most exciting, subversive, and original horror production since the genre's best-known works of the 1970s. Like "Twilight," "Let the Right One In" is a love story between a human and a vampire--but that is where the resemblance ends. Set in a snowy, surburban housing estate in 1980s Stockholm, the film combines supernatural elements with social realism. It features Oskar, a lonely, bullied child, and Eli, the girl next door. "Oskar, I'm not a girl," she tells him, and she's not kidding--she's a vampire. The two forge an intense relationship that is at once innocent and disturbing. Two outsiders against the world, one of these outsiders is, essentially, a serial killer. What does Eli want from Oskar? Simple companionship, or something else? While startlingly original, "Let the Right One In" could not have existed without the near century of vampire cinema that preceded it. Anne Billson reviews this history and the film's inheritence of (and new twists on) such classics as "Nosferatu" (1979) and "Dracula" (1931). She discusses the genre's early fliration with social realism in films such as "Martin" (1977) and "Near Dark" (1987), along with its adaptation of mythology to the modern world, and she examines the changing relationship between vampires and humans, the role of the vampire's assistant, and the enduring figure of vampires in popular culture.

    She carefully unspools the cultural threads that inform his aesthetic to explain why this precocious arthouse film nerd from Texas has become one of the most popular directors of his generation.

    It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    Since all journalists and writers were barred from the shooting of the movie Close Encounters of the Third Kind, actor Bob Balaban's diary is a rare on-the-spot account of the making of Steven Spielberg's classic sci-fi film.

    Leonard Maltin’s Classic Movie Guide includes more than 7,000 capsule reviews of classic movies, including: The Birth of a Nation (1915), Gone With the Wind (1939), The Philadelphia Story (1940), High Noon (1952), and Guess Who’s Coming to Dinner (1967). In addition, this unique volume also offers a star and director index, a full listing of classic movies on DVD, and Leonard Maltin’s unique Top Ten lists. The result is an authoritative, dynamic guide to the classics no film aficionado should be without.

    Featuring a pitch-perfect screenplay, a classic soundtrack, and unforgettable performances by Humphrey Bogart, Ingrid Bergman, and a deep supporting cast, Casablanca was hailed in the New York Times as “a picture that makes the spine tingle and the heart take a leap.” The film won Oscars for best picture, best director, and best screenplay, and would go on to enjoy more revival screenings than any other movie in history. It became so firmly ensconced in the cultural imagination that, as Umberto Eco once said, Casablanca is “not one movie; it is ‘movies.’ ”We’ll Always Have Casablanca is celebrated film historian Noah Isenberg’s rich account of this most beloved movie’s origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca’s production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, the battles with Production Code censors, and the effect of the war’s progress on the movie’s reception. Isenberg particularly focuses on the central role refugees from Hitler’s Europe played in the production (nearly all of the actors and actresses cast in Casablanca were immigrants).Filled with fresh insights into Casablanca’s creation, production, and legacy, We’ll Always Have Casablanca is a magnificent account of what made the movie so popular and why it continues to dazzle audiences seventy-five years after its release.

    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.'

    Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.

    This text's consistent and comprehensive focus on writing allows students to master film vocabulary and concepts while learning to formulate rich interpretations. Part I introduces readers to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scene, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III moves beyond textual analysis to explore film as a cultural institution and introduce students to essential areas of film studies research.

    It traces the development of film from its scientific origins through to cinema today, covering the key elements and players that have contributed to its artistic and technical development.