Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a cultural examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    Wiley and Mr. Bona have found just the right tone for writing about this most particular of American phenomena.

    Death Scenes is the noted forerunner of several copycat titles.

    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.

    . . The book as a whole offers a fascinating look at how this movie tells a timeless story.” —The Washington PostMrs. Robinson, you’re trying to seduce me. Aren’t you? When The Graduate premiered in December 1967, its filmmakers had only modest expectations for what seemed to be a small, sexy art-house comedy adapted from an obscure first novel by an eccentric twenty-four-year-old. There was little indication that this offbeat story—a young man just out of college has an affair with one of his parents’ friends and then runs off with her daughter—would turn out to be a monster hit, with an extended run in theaters and seven Academy Award nominations. The film catapulted an unknown actor, Dustin Hoffman, to stardom with a role that is now permanently engraved in our collective memory. While turning the word plastics into shorthand for soulless work and a corporate, consumer culture, The Graduate sparked a national debate about what was starting to be called “the generation gap.” Now, in time for this iconic film’s fiftieth birthday, author Beverly Gray offers up a smart close reading of the film itself as well as vivid, never-before-revealed details from behind the scenes of the production—including all the drama and decision-making of the cast and crew. For movie buffs and pop culture fanatics, Seduced by Mrs. Robinson brings to light The Graduate’s huge influence on the future of filmmaking. And it explores how this unconventional movie rocked the late-sixties world, both reflecting and changing the era’s views of sex, work, and marriage.

    It is about the death of physical film in the digital era and about a paranoid, secretive, eccentric, and sometimes obsessive group of film-mad collectors who made movies and their projection a private religion in the time before DVDs and Blu-rays.The book includes the stories of film historian/critic Leonard Maltin, TCM host Robert Osborne discussing Rock Hudson's secret 1970s film vault, RoboCop producer Jon Davison dropping acid and screening King Kong with Jefferson Airplane at the Fillmore East, and Academy Award-winning film historian Kevin Brownlow recounting his decades-long quest to restore the 1927 Napoleon. Other lesser-known but equally fascinating subjects include one-legged former Broadway dancer Tony Turano, who lives in a Norma Desmond-like world of decaying movie memories, and notorious film pirate Al Beardsley, one of the men responsible for putting O. J. Simpson behind bars.Authors Dennis Bartok and Jeff Joseph examine one of the least-known episodes in modern legal history: the FBI's and Justice Department's campaign to harass, intimidate, and arrest film dealers and collectors in the early 1970s. Many of those persecuted were gay men. Victims included Planet of the Apes star Roddy McDowall, who was arrested in 1974 for film collecting and forced to name names of fellow collectors, including Rock Hudson and Mel Torm�.A Thousand Cuts explores the obsessions of the colorful individuals who created their own screening rooms, spent vast sums, negotiated underground networks, and even risked legal jeopardy to pursue their passion for real, physical film.

    A History of the French New Wave Cinema offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and early 1960s.Richard Neupert first tracks the precursors to New Wave cinema, showing how they provided blueprints for those who would follow. He then demonstrates that it was a core group of critics-turned-directors from the magazine Cahiers du Cinéma—especially François Truffaut, Claude Chabrol, and Jean-Luc Godard—who really revealed that filmmaking was changing forever. Later, their cohorts Eric Rohmer, Jacques Rivette, Jacques Doniol-Valcroze, and Pierre Kast continued in their own unique ways to expand the range and depth of the New Wave. In an exciting new chapter, Neupert explores the subgroup of French film practice known as the Left Bank Group, which included directors such as Alain Resnais and Agnès Varda. With the addition of this new material and an updated conclusion, Neupert presents a comprehensive review of the stunning variety of movies to come out of this important era in filmmaking.

    You'll learn how to structure your visuals as carefully as a writer structures a story or a composer structures music. Understanding visual structure allows you to communicate moods and emotions, and most importantly, reveals the critical relationship between story structure and visual structure.The Visual Story offers a clear view of the relationship between the story/script structure and the visual structure of a film, video, or multimedia work. An understanding of the visual components will serve as the guide to strengthening the overall story. The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories. Bruce Block has the production credentials to write this definitive guide. His expertise is in demand, and he gives seminars at the American Film Institute, PIXAR Studios, Walt Disney Feature and Television Animation, Dreamworks Animation, Nickelodeon Animation Studios, Industrial Light & Magic and a variety of film schools in Europe.The concepts in this book will benefit writers, directors, photographers, production designers, art directors, and editors who are always confronted by the same visual problems that have faced every picture maker in the past, present, and future.• Now in full color!• Written by a renowned producer, visual consultant, and teacher• The material in this books applies to any kind of visual story, including films, animated pieces, video games, and television

    The Brat Pack and their contemporaries have grown up, but celluloid has them flickering forever, angst-ridden, haunted, guileless, cocky, stripped to their briefs, and all dressed up pretty in pink. 25 photos, 8-page color insert.

    Now you can go behind the scenes for a rare, inside look at the making of the movie. Learn the story behind the story--the road from novel to screenplay; Watch as the finest f/x team in movie history pooled their talents to create the lifelike dinosaurs; Read exclusive interviews with Steven Spielberg, Michael Crichton, and the key actors, and so much more!

    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

    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 Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.