When he died recently, he left behind an incredible celluloid legacy. Sunset Boulevard, Some Like It Hot, Double Indemnity, The Apartment, The Lost Weekend, Sabrina and other Wilder films have become a part of our shared experience and collective memory. In Nobody's Perfect, Billy Wilder speaks for himself, in what is as close to an autobiography as there ever will be. Charlotte Chandler, author of authorized bios on Groucho Marx and Federico Fellini, met Wilder in the mid-1970s and began a friendship that continued until his death. Over the course of more than 20 years, she interviewed not only Wilder, but many of the actors and other creative people who worked with him. The result is this remarkable book, a very personal look at one of filmdom's true creative geniuses. In a life as dramatic as his films, Wilder survived World War I and escaped the Holocaust. His great gift as a screenwriter soon became apparent, as did his easy rapport with actors. As a writer-director, he worked with such stars as Greta Garbo, William Holden, Tony Curtis, Barbara Stanwyck, Marlene Dietrich, Ginger Rogers, Gloria Swanson, Audrey Hepburn, Gary Cooper, James Cagney, Jack Lemmon, Walter Matthau and Marilyn Monroe - most of whom were interviewed for this book. This revealing and vastly entertaining book is a wonderful, timely tribute to this great writer-director, a legacy of Wilder's wit, insight and remarkable wisdom.

    Relates the life of the secretly gay Hollywood director who guided to stardom such legendary actresses as Garbo, Bergman, Garland, and Hepburn.

    The result is a highly entertaining book on Hollywood's extravagant relationship with the past, a celebration of the cinema as an illuminator of the story of mankind. By the author of the bestselling Flashman novels. 200 photos.

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    

    Not content to choose his own top films (though they are here), Thomson has created a list that will surprise and delight you—and send you to your best movie rental service.But he also probes the question: after one hundred years of film, which ones are the best, and why?“Have You Seen . . . ?†suggests a true canon of cinema and one that’s almost completely accessible now, thanks to DVDs. This book is a must for anyone who loves the silver screen: the perfect confection to dip into at any point for a taste of controversy, little-known facts, and ideas about what to see. This is a volume you’ll want to return to again and again, like a dear but argumentative friend in the dark at the movies.

    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!

    And the stars of yesteryear? They weren’t always the saints that we make them out to be. BuzzFeed’s Anne Helen Petersen, author of Too Fat, Too Slutty, Too Loud, is here to set the record straight. Pulling little-known gems from the archives of film history, Petersen reveals eyebrow-raising information, including:*The smear campaign against the original It Girl, Clara Bow, started by her best friend *The heartbreaking story of Montgomery Clift’s rapid rise to fame, the car accident that destroyed his face, and the “long suicide” that followed *Fatty Arbuckle’s descent from Hollywood royalty, fueled by allegations of a boozy orgy turned violent assault *Why Mae West was arrested and jailed for “indecency charges” *And much more Part biography, part cultural history, these stories cover the stuff that films are made of: love, sex, drugs, illegitimate children, illicit affairs, and botched cover-ups. But it’s not all just tawdry gossip in the pages of this book. The stories are all contextualized within the boundaries of film, cultural, political, and gender history, making for a read that will inform as it entertains. Based on Petersen’s beloved column on the Hairpin, but featuring 100% new content, Scandals of Classic Hollywood is sensationalism made smart.

    But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes—the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer.His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood’s most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes—perhaps more than any other filmmaker of his era—commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes’s grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches.Vivid, perceptive, timely, and ridiculously entertaining, Seduction is a landmark work that examines women, sex, and male power in Hollywood during its golden age—a legacy that endures nearly a century later.

    Skal chronicles one of our most popular and pervasive modes of cultural expression. He explores the disguised form in which Hollywood's classic horror movies played out the traumas of two world wars and the Depression; the nightmare visions of invasion and mind control catalyzed by the Cold War; the preoccupation with demon children that took hold as thalidomide, birth control, and abortion changed the reproductive landscape; the vogue in visceral, transformative special effects that paralleled the development of the plastic surgery industry; the link between the AIDS epidemic and the current fascination with vampires; and much more. Now with a new Afterword by the author that looks at horror's popular renaissance in the last decade, The Monster Show is a compulsively readable, thought-provoking inquiry into America's obsession with the macabre.

    Louise Brooks left Wichita, Kansas, for New York City at age fifteen and lived the kind of life of which legends are made. From her beginnings as a dancer to her years in Hollywood, Berlin, and beyond, she was hailed and reviled as a new type of woman: independent, intellectually daring, and sexually free. In this widely acclaimed, first and only comprehensive biography, Barry Paris traces Brooks's trajectory from her childhood through her fall into obscurity and subsequent "resurrection" as a brilliant writer and enduring film icon.

    Len Deighton, author of the classic espionage novel 'The Ipcress File', knew both sides intimately. An acquaintance of Ian Fleming’s (who had praised Deighton’s debut novel in the 'Sunday Times') Deighton was also close to the man who was to become Fleming’s nemesis – Kevin McClory, a veteran of the British film industry. The history of Bond’s development under the arc lights becomes, in Deighton’s expert hands, a saga-like story of inflated egos and poisonous vendettas, exotic locations and claustrophobic courtooms, all involving household names. As an eye witness to the protracted disputes that complicated Bond’s depiction both on screen and on the page, Deighton is in a unique position to tell what he saw. Candid, comical, always steely-eyed, this hefty slice of cinematic memoir reads with all the high-powered pace of a Len Deighton thriller.

    He’s climbed all the way to head of production at newly merged Metro-Goldwyn-Mayer and is determined to transform Leo the Lion into an icon of the most successful studio in town.The harder he works, the higher he soars. But at what cost? The more he achieves, the closer he risks flying into oblivion. A frail and faulty heart shudders inside this chest that blazes with ambition. Thalberg knows that his charmed life at the top of the Hollywood heap is a dangerous tightrope walk: each day—each breath, even—could be his last. Shooting for success means risking his health, friendships, everything. Yet, against all odds, the man no one thought would survive into adulthood almost single-handedly ushers in a new era of filmmaking.This is Hollywood at its most daring and opulent—the Sunset Strip, premieres at Grauman’s Chinese Theatre, stars like Clark Gable, Greta Garbo, Jean Harlow, Joan Crawford—and Irving is at the center of it all.From the author of the Hollywood’s Garden of Allah novels comes a mesmerizing true-life story of the man behind Golden Age mythmaking: Irving Thalberg, the prince of Tinseltown.Martin Turnbull's Hollywood’s Garden of Allah novels have been optioned for the screen by film & television producer, Tabrez Noorani.

    You’re a bonafide Brat Pack devotee—and you’re not alone.The films of the Brat Pack—from Sixteen Candles to Say Anything—are some of the most watched, bestselling DVDs of all time. The landscape that the Brat Packmemorialized—where outcasts and prom queens fall in love, preppies and burn-outs become buds, and frosted lip gloss, skinny ties, and exuberant optimism made us feel invincible—is rich with cultural themes and significance, and has influenced an entire generation who still believe that life always turns out the way it is supposed to.You Couldn’t Ignore Me If You Tried takes us back to that era, interviewing key players, such as Molly Ringwald, Anthony Michael Hall, Ally Sheedy, Judd Nelson, Andrew McCarthy, and John Cusack, and mines all the material from the movies to the music to the way the films were made to show how they helped shape our visions for romance, friendship, society, and success.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.