Illustrated throughout with behind-the-scenes photos.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.

    This book provides a personal commentary on the film, a brief production history and a detailed filmography. In the "BFI Film Classics" series.

    (1897–1953) and Joseph L. Mankiewicz (1909–1993) wrote, produced, and directed over 150 pictures. With Orson Welles, Herman wrote the screenplay for Citizen Kane and shared the picture’s only Academy Award. Joe earned the second pair of his four Oscars for writing and directing All About Eve, which also won Best Picture. Despite triumphs as diverse as Monkey Business and Cleopatra, and Pride of the Yankees and Guys and Dolls, the witty, intellectual brothers spent their Hollywood years deeply discontented and yearning for what they did not have—a career in New York theater. Herman, formerly an Algonquin Round Table habitué, New York Times and New Yorker theater critic, and playwright-collaborator with George S. Kaufman, never reconciled himself to screenwriting. He gambled away his prodigious earnings, was fired from all the major studios, and drank himself to death at fifty-five. While Herman drifted downward, Joe rose to become a critical and financial success as a writer, producer, and director, though his constant philandering with prominent stars like Joan Crawford, Judy Garland, and Gene Tierney distressed his emotionally fragile wife who eventually committed suicide. He wrecked his own health using uppers and downers in order to direct Cleopatra by day and finish writing it at night, only to be very publicly fired by Darryl F. Zanuck, an experience from which he never fully recovered. For this first dual portrait of the Mankiewicz brothers, Sydney Ladensohn Stern draws on interviews, letters, diaries, and other documents still in private hands to provide a uniquely intimate behind-the-scenes chronicle of the lives, loves, work, and relationship between these complex men.

    The notes gathered over a long career and polished to a sharp edge documented the teachings and directions that Hauser shared privately with a host of theatrical and cinematic figures, including Sir Alec Guinness, Richard Burton, Sir Ian McKellen, Dame Judi Dench, Kevin Spacey, and many others who called Hauser their director, mentor, teacher, or boss.Now, the former student has expanded and enhanced his mentor's private notes into a book-length format suitable for anyone searching for the timeless gems of the director s craft. Drawing on years of training, decades of experience, and the distilled wisdom of leading practitioners, Notes on Directing is filled with enduring good advice expressed in assertive, no-nonsense language. More than a how-to, this is a tool for directors looking to better translate the page to the stage or to the screen. With one hundred and thirty directives supported with explanatory commentary, helpful examples, and rare quotes, this deceptively slim volume has the impact of a privileged apprenticeship to a great master.Whether you are a student or a professional, a playgoer, moviegoer, or enthusiast, Notes on Directing provides a thrilling glimpse into the hidden process of creating a live, shared experience.

    This lively book is a uniquely comprehensive account of the only director to have a smash hit TV series in the same year as winning the Golden Palm at Cannes.

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

    Dangerous Men takes a close look at the images of manhood during this pre-Code era, which coincided with an interesting time for men-the culmination of a generation-long transformation in the masculine ideal. By the late twenties, the tumult of a new century had made the nineteenth century's notion of the ideal man seem like a repressed stuffed shirt, a deluded optimist. The smiling, confident hero of just a few years before fell out of favor, and the new heroes who emerged were gangsters, opportunists, sleazy businessmen, shifty lawyers, shell-shocked soldiers-men whose existence threatened the status quo. In this book, LaSalle highlights such household names as James Cagney, Clark Gable, Edward G. Robinson, Maurice Chevalier, Spencer Tracy, and Gary Cooper, along with lesser-known ones such as Richard Barthelmess, Lee Tracy, Robert Montgomery, and the magnificent Warren William. Together they represent a vision of manhood more exuberant and contentious-and more humane-than anything that has followed on the American screen.

    

    

    He never went to film school or studied cinema. And he spent most of his incredible career in the Midwest, far from the Hollywood Hills.John Hughes was indeed one of the most prolific and successful filmmakers in Hollywood history. He helped launch the careers of Andrew McCarthy, Molly Ringwald, Anthony Michael Hall, Macaulay Culkin, and Judd Nelson. He made John Candy a household name.In this first illustrated tribute to the legendary filmmaker, author Kirk Honeycutt offers a behind-the-scenes look at the genius that was John Hughes--from his humble beginnings in direct mail to his blockbuster success with classics like Pretty in Pink, Sixteen Candles, Weird Science, and Home Alone. Honeycutt also explores the darker side of John Hughes: his extreme sensitivity, his stormy professional relationships, and the devastation Hughes experienced after the death of his closest friend, John Candy.Featuring fresh interviews with Matthew Broderick, Ally Sheedy, Judd Nelson, Steve Martin, and Jon Cryer, and a foreword from Home Alone director Chris Columbus, this is the must-read for fans of John Hughes."This biography is a fascinating portrait of a brilliant, complex, and wonderful man. John Hughes forever transformed my world, and I am grateful for such a wonderful tribute." - Ally Sheedy"John Hughes always treated me with respect and consideration, and was most generous with his insight. As a result of Mr. Honeycutt's detailed research, we learn John Hughes the person was even more impressive than John Hughes the writer/director. Reading this book was a bittersweet experience, making me feel the size of the loss of his premature passing. But it also confirmed for me that John Hughes was a giant, and under his great shadow I am fortunate to remain." - Judd Nelson

    The result is a frame-by-frame examination of the inimitable style that infuses every Kubrick movie, from the pitch-perfect hilarity of Lolita to the icy supremacy of 2001: A Space Odyssey to the baroque horror of The Shining. The book's beautiful design and dynamic arrangement of photographic stills offer a frame-by-frame understanding of how Kubrick constructed a film. What emerges is a deeply human study of one remarkable artist's nature and obsessions, and how these changed and shifted in his four decades as a filmmaker.

    Bela Lugosi and Boris Karloff starred in dozens of black-and-white horror films, and over the years managed to collaborate on and co-star in eight movies. Through dozens of interviews and extensive archival research, this greatly expanded new edition examines the Golden Age of Hollywood, the era in which both stars worked, recreates the shooting of Lugosi and Karloff's mutual films, examines their odd and moving personal relationship and analyzes their ongoing legacies. Features include a fully detailed filmography of the eight Karloff and Lugosi films, full summaries of both men's careers and more than 250 photographs, some in color.

    Frank Herbert described it as 'the most valuable science fiction source book ever written' and Isaac Asimov said 'It will become the Bible for all science fiction fans.'. This new edition has taken years to prepare and is much more than a simple updating. The world of science fiction in the 1990s is much more complex than it was back in the late 1970s. The advent of game worlds, shared worlds, graphic novels, film and tv spin-offs, technothrillers, survivalist fiction, of horror novels and fantasy novels with of centres has necessitated a radical revision, and this has allowed the inclusion of related subjects, such as magic realism. Accordingly, the book has expanded dramatically in order to cope with the complexities and changes. It now contains well over 4,300 entries - a staggering 1,500 more than the original - and, at 1.2 million words, it is over half a million words longer than the first edition. This is the indispensable reference work not only for every reader who loves, uses and wishes to know more about science fiction, but for every reader of imaginative fiction at the end of this century.