Nicknamed "tin cans" or "greyhounds," destroyers were fast escort and attack ships that proved indispensable to America's military victories. Beginning with destroyers' first incarnation as torpedo boats in 1874 and ending with World War II, author Clint Johnson shares the riveting stories of the Destroyer Men who fought from inside a "tin can"—risking death by cannons, bombs, torpedoes, fire, and drowning. The British invented destroyers, the Japanese improved them, and the Germans failed miserably with them. It was the Americans who perfected destroyers as the best fighting ship in two world wars. Tin Cans & Greyhounds compares the designs of these countries with focus on the old, modified World War I destroyers, and the new and numerous World War II destroyers of the United States.  Tin Cans & Greyhounds details how destroyers fought submarines, escorted convoys, rescued sailors and airmen, downed aircraft, shelled beaches, and attacked armored battleships and cruisers with nothing more than a half-inch of steel separating their crews from the dark waves.

    Inside you will read about... ✓ The Road to Yorktown ✓ Opening Moves ✓ The Troops in Motion ✓ The Battle at Sea ✓ The Calm Before the Storm ✓ The Siege Commences ✓ The Fall When Washington moved against Cornwallis, the entire world held its breath. And when surrender was offered

    Army and Navy nurses were stationed in Guam and the Philippines at the beginning of World War II. After the Japanese attack on Pearl Harbor in December 1941, five navy nurses on Guam became the first American military women of World War II to be taken prisoner by the Japanese. More than seventy army nurses survived five months of combat conditions in the jungles of Bataan and Corregidor before being captured, only to endure more than three years in prison camps. In all, nearly one hundred nurses became POWs. Many of these army nurses were considered too vital to the war effort to be evacuated from the Philippines. Though receiving only half the salary of male officers of the same rank, they helped establish outdoor hospitals and treated thousands of casualties despite rapidly decreasing supplies and rations. After their capture, they continued to care for the sick and wounded throughout their internment in the prison camps. This account of the nurses' imprisonment adds a vital chapter to the history of American personnel in the Pacific theater. Lt. Col. Madeline Ullom, one of the captured nurses, remarked, "Even though women were not supposed to be on the front lines, on the front lines we were. Women were not supposed to be interned either, but it happened to us. People should know what we endured. People should know what we can endure." When freedom came, the U.S. military ordered the nurses to sign agreements with the government not to discuss their horrific experiences. Evelyn Monahan and Rosemary Neidel-Greenlee have conducted numerous interviews with survivors and scoured archives for letters, diaries, and journals to uncover the heroism and sacrifices of these brave women. The authors' dedication to accuracy, combined with their personal expertise in medical care and military culture and discipline, has enabled them to produce a realistic reconstruction of the dramatic experiences of these POWs.

    Titanic and the Making of James Cameron by former Hollywood Reporter journalist Paula Parisi recounts the making of this modern classic motion picture from conception to completion, offering a fascinating, detailed, behind-the-scenes look at its stars, including Kate Winslet and Leonardo DiCaprio, its crew, and its genius director. Republished in time to commemorate the centennial anniversary of the catastrophic sinking of the gargantuan ocean liner, Titanic and the Making of James Cameron is a must-read for Titanic fans and for true movie buffs everywhere.

    For the first time, Live Fast, Die Young tells the complete story of the explosive making of Rebel, a film that has rocked every generation since its release. Set against a backdrop of the Atomic Age and an old Hollywood studio system on the verge of collapse, it vividly evokes the cataclysmic, immensely influential meeting of four of Hollywood's most passionate artists. When James Dean, Natalie Wood, Sal Mineo, and director Nicholas Ray converged, each was at a crucial point in his or her career. The young actors were grappling with fame, their burgeoning sexuality, and increasingly reckless behavior. As Ray engaged his cast in physical melees and psychosexual seductions of startling intensity, the on- and off-set relationships between his ambitious young actors ignited, sending a shock wave through the film. Through interviews with the surviving members of the cast and crew and firsthand access to both personal and studio archives, Lawrence Frascella and Al Weisel reveal Rebel's true drama -- the director's affair with sixteen-year-old Wood, his tempestuous "spiritual marriage" with Dean, and his role in awakening the latent homosexuality of Mineo, who would become the first gay teenager to appear on film. Complete with thirty photographs, including ten never-before-seen photos by famed Dean photographer Dennis Stock, Live Fast, Die Young tells the absorbing inside story of an unforgettable and absolutely essential American film -- a story that is, in many ways, as provocative as the film itself.

    combines political history, military biography, and business management to tell the story of General Douglas MacArthur's tremendous success in rebuilding Japan after World War II in Supreme Commander, a lively, in-depth work of biographical history complementary to The Generals, The Storm of War, and Truman.He is the most decorated general in American history—and the only five five-star general to receive the Medal of Honor. Yet Douglas MacArthur's greatest victory was not in war but in peace.As the uniquely titled Supreme Commander for the Allied Powers, he was charged with transforming a defeated, militarist empire into a beacon of peace and democracy—“the greatest gamble ever attempted,” he called it. A career military man, MacArthur had no experience in politics, diplomacy, or economics. A vain, reclusive, and self-centered man, his many enemies in Washington thought he was a flaming peacock, and few, including President Harry Truman's closest advisors, gave him a chance of succeeding. Yet MacArthur did so brilliantly, defying timetables and expectations.Supreme Commander tells for the first time, the story of how MacArthur's leadership achieved a nation-building success that had never been attempted before—and never replicated since. Seymour Morris Jr. reveals this flawed man at his best who treated a defeated enemy with respect; who made informed and thoughtful decisions yet could be brash and stubborn when necessary, and who lead the Occupation with intelligence, class, and compassion.Morris analyzes MacArthur's key tactical choices, explaining how each contributed to his accomplishment, and paints a detailed picture of a true patriot—a man of conviction who proved to be an outstanding and effective leader in the most extraordinary circumstances.

    J. Reynolds tobacco family, one of America's richest and most intensely private clans. R.J. was the original founder of the company that became part of RJR Nabisco, which in 1988 was involved in the largest business takeover in history. Spanning three generations, the Reynolds's story moves from the triumphs of founder and corporate genius R. J. to the dissipation, scandal, and tragedy that plagued his children and grandchildren. There is a redemptive close, with grandson Patrick Reynolds founding Smokefree America and becoming a leading anti-smoking advocate. The Gilded Leaf presents, for the first time, a complete account of the family who captured, spent and redeemed the American dream.

    This book, John Hersey's journalistic masterpiece, tells what happened on that day. Told through the memories of survivors, this timeless, powerful and compassionate document has become a classic "that stirs the conscience of humanity" (The New York Times).

    Is it serious movie discussion? Is it funny? Do the writers know what the hell they are talking about? Yes, Yes, Yes, and Yes. OK, that’s too many Yes’s but you get the point.  Graham Elwood and Chris Mancini, both professional filmmakers and comedians, created Comedyfilmnerds.com to mind meld the idea of real movie talk and real funny. And they called in all of their professionally funny and filmy friends to help them. Comedians and writers who have been on everything from the Tonight Show to having their own comedy specials tell you what’s what on their favorite film genres.  While "The Comedy Film Nerds Guide to Movies" is funny and informative, each film genre is given a personal touch. All of the Comedy Film Nerds have a love of film and a personal connection to each genre.  Read about a love of film from an insider’s perspective.  "The Comedy Film Nerds Guide to Movies" is for the movie lover with a good sense of humor.

    Spring '98---copy being written at this moment

    This down-and-dirty romp through Hollywood in the 1970s introduces the young filmmakers--Coppola, Scorsese, Lucas, Spielberg, Altman, and Beatty--and recreates an era that transformed American culture forever.

    They were the salons where many of today’s best directors first learned their craft. The art of discovery that video stores encouraged through the careful curation of clerks was the fertile, if sometimes fetid, soil from which today’s film world sprung. Video stores were also the financial engine without which the indie film movement wouldn’t have existed.In I Lost it at the Video Store, Tom Roston interviews the filmmakers—including John Sayles, Quentin Tarantino, Kevin Smith, Darren Aronofsky, David O. Russell and Allison Anders—who came of age during the reign of video rentals, and constructs a living, personal narrative of an era of cinema history which, though now gone, continues to shape film culture today.

    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.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    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.