Allison; Cape Fear; The Longest Day; Farewell, My Lovely; and The Winds of War. Mitchum's powerful presence and simmering violence combined with hard-boiled humor and existential detachment to create a new style in movie acting: the screen's first hipster antihero-before Brando, James Dean, Elvis, or Eastwood-the inventor of big-screen cool.Robert Mitchum: "Baby, I Don't Care" is the first complete biography of Mitchum, and a book as big, colorful, and controversial as the star himself. Exhaustively researched, it makes use of thousands of rare documents from around the world and nearly two hundred in-depth interviews with Mitchum's family, friends, and associates (many going on record for the first time ever) ranging over his seventy-nine years of hard living. Written with great style, and vividly detailed, this is an intimate, comprehensive portrait of an amazing life, comic, tragic, daring, and outrageous.

    2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    There, a bore is "a person who talks when you wish him to listen," and happiness is "an agreeable sensation arising from contemplating the misery of another." This is the most comprehensive, authoritative edition ever of Ambrose Bierce’s satiric masterpiece. It renders obsolete all other versions that have appeared in the book’s ninety-year history.A virtual onslaught of acerbic, confrontational wordplay, The Unabridged Devil’s Dictionary offers some 1,600 wickedly clever definitions to the vocabulary of everyday life. Little is sacred and few are safe, for Bierce targets just about any pursuit, from matrimony to immortality, that allows our willful failings and excesses to shine forth.This new edition is based on David E. Schultz and S. T. Joshi’s exhaustive investigation into the book’s writing and publishing history. All of Bierce’s known satiric definitions are here, including previously uncollected, unpublished, and alternative entries. Definitions dropped from previous editions have been restored while nearly two hundred wrongly attributed to Bierce have been excised. For dedicated Bierce readers, an introduction and notes are also included.Ambrose Bierce’s Devil’s Dictionary is a classic that stands alongside the best work of satirists such as Twain, Mencken, and Thurber. This unabridged edition will be celebrated by humor fans and word lovers everywhere.

    For the first time Bloom gives his readers an elegant guide to reading poetry--a master critic’s distillation of a lifetime of teaching and criticism. He tackles such subjects as poetic voice, the nature of metaphor and allusion, and the nature of poetic value itself. Blooms writes “the work of great poetry is to aid us to become free artists of ourselves.” This essay is an invaluable guide to poetry.This edition will also include a recommended reading list of poems.

    Through his long and distinguished career he managed, like very few others in the teeth of a huge and relentless industry, to elevate each of his films to a distinctive level of art. His Rashomon—one of the best-remembered and most talked-of films in any language—was a revelation when it appeared in 1950 and did much to bring Japanese cinema to the world's attention. Kurosawa's films display an extraordinary breadth and an astonishing strength, from the philosophic and sexual complexity of Rashomon to the moral dedication of Ikiru, from the naked violence of Seven Samurai to the savage comedy of Yojimbo, from the terror-filled feudalism of Throne of Blood to the piercing wit of Sanjuro.

    The book traces his immense impact on the portrayal of the leading stars year by year, from his arrival in California in 1925 until his departure in 1943. During that time he photographed all of the greatest personalities, at Metro-Goldwyn-Mayer, Warner Brothers, and Columbia as well as independently. The prints come from the Chapman Collection, one of the most extensive archives of original Hurrell photographs in the world, and they include a number of rarities and surprises. Although some photos by Hurrell are familiar and frequently reproduced, most of the images in this book will come as a revelation, since they have not been published in over half a century. The genesis of the pictures is examined in a remarkable text by Mark A. Vieira, himself a highly regarded portrait photographer, who came to know Hurrell well during the photographer's later years. Vieira explains in detail Hurrell's technical feats of lighting and retouching. And drawing on firsthand accounts, he vividly re-creates the lively interplay between the photographer and his subjects at the shooting sessions in which these portraits were taken.

    Provides new insights and observations from Vogler's pioneering work in mythic structure for writers.

    But how did it evolve? How did a language spoken originally by a few thousand Anglo-Saxons become one used by more than 1,500 million? What developments can be seen as we move from Beowulf to Chaucer to Shakespeare to Dickens and the present day? A host of fascinating questions are answered in The Stories of English, a groundbreaking history of the language by David Crystal.

    . . ugly and obscene . . . a degrading, senseless misuse of film and time." –The Los Angeles Times"People are right to be shocked." –The New YorkerFrom the murky depths can come the most extraordinary things. . . . Profoundly Disturbing examines the underground cult movies that have–unexpectedly and unintentionally–revolutionized the way that all movies would be made. Called "exploitation films" because they often exploit our most primal fears and desires, these overlooked movies pioneered new cinematographic techniques, subversive narrative structuring, and guerrilla marketing strategies that would eventually trickle up into mainstream cinema. In this book Joe Bob Briggs uncovers the most seminal cult movies of the twentieth century and reveals the fascinating untold stories behind their making. Briggs is best known as the cowboy-hat wearing, Texas-drawling host of Joe Bob's Drive-in Theater and Monstervision, which ran for fourteen years on cable TV. His goofy, disarming take offers a refreshingly different perspective on movies and film making. He will make you laugh out loud but then surprise you with some truly insightful analysis. And, with more than three decades of immersion in the cult movie business, Briggs has a wealth of behind-the-scenes knowledge about the people who starred in, and made these movies. There is no one better qualified or more engaging to write about this subject.All the subgenres in cult cinema are covered, with essays centering around twenty movies including Triumph of the Will (1938), Mudhoney (1965), Night of the Living Dead (1967), Deep Throat (1973), The Texas Chain Saw Massacre (1974), Drunken Master (1978), and Crash (1996). Accompanying the text are dozens of capsule reviews providing ideas for related films to discover, as well as kitschy and fun archival film stills. An essential reference and guide to this overlooked side of cinema, Profoundly Disturbing should be in the home of every movie fan, especially those who think they've seen everything.

    These works speak across centuries, beginning with Chaucer's resourceful inventions and moving through Shakespeare's masterpieces, John Donne's complex originality, and Alexander Pope's mordant satires. The anthology also features perennial favorites such as William Blake, William Wordsworth, and John Keats; Emily Dickinson's prisms of profundity; the ironies of Wallace Stevens and T.S. Eliot; and the passion of Sylvia Plath and Allen Ginsberg. These 500 poems are verses that readers either know already or will want to know, encapsulating the visceral power of truly great literature. William Harmon provides illuminating commentary to each work and a rich introduction that ties the entire collection together.

    Chris Jones and Genevieve Jolliffe provide a step-by-step guide to all aspects of production, from copyright law to casting agents, directions to stuns, cash sources to distribution. Case studies and a Producer's Toolkit with information on legal documentation, including blank forms and a complete budget breakdown make this an invaluable tool for any independent filmmaker.

    And here, for the first time, is an anthology of poems from the show, chosen by Keillor for their wit, their frankness, their passion, their "utter clarity in the face of everything else a person has to deal with at 7 a.m." Good Poems includes verse about lovers, children, failure, everyday life, death, and transcendance. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds. It's a book of poems for anybody who loves poetry whether they know it or not.

    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.

    Many of us love to tell them, and even dream of making a living from it too. But what is a story? Hundreds of books about screenwriting and storytelling have been written, but none of them ask 'Why?' Why do we tell stories? And why do all stories function in an eerily similar way? John Yorke has been telling stories almost his entire adult life, and the more he has done it, the more he has asked himself why? Every great thinker or writer has their theories: Aristotle, David Hare, Lajos Egri, Robert McKee, Gustav Freytag, David Mamet, Christopher Booker, Charlie Kaufman, William Goldman and Aaron Sorkin - all have offered insightful and illuminating answers. Here, John Yorke draws on these figures and more as he takes us on a historical, philosophical, scientific and psychological journey to the heart of all storytelling.What he reveals is that there truly is a unifying shape to narrative - one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within. Much more than a 'how to write' book, Into the Woods is an exploration of this fundamental structure underneath all narrative forms, from film and television to theatre and novel-writing. With astonishing detail and wisdom, John Yorke explains to us a phenomenon that, whether it is as a simple fable, or a big-budget 3D blockbuster, most of us experience almost every day of our lives.

    The “time after” is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved. It is the time of pure material events against which belief will be measured for as long as life will sustain it.