This is a biography of the ascerbic and witty film critic Pauline Kael.

    Written by filmmakers for filmmakers, this essential text now includes the latest information on digital age filmmaking, where the shifting boundaries between film, video, and computer systems have introduced a wide range of methods and equipment every filmmaker must master to be competitive. This comprehensive reference guide addresses the techniques necessary to make feature, documentary, industrial, and experimental films while detailing the possibilities and limitations of various formats. New chapters spotlight video camera and video editing, essential information for modern film students and makers who focus on video production exclusively. "The Filmmaker's Handbook" is the perfect primer to guide novices and professionals alike into the twenty-first century of motion picture production.

    If the gore epics, women-in-prison films, and shockumentaries showcased within their mildewed walls didn't live up to their outrageous billing, the audience shouted, threw food, and even vandalized the theaters. For dedicated lovers of extreme cinema, buying a movie ticket on the Deuce meant putting your life on the line. Authors Bill Landis and Michelle Clifford came to know those grindhouses better than anyone else, and although the theaters were gone by the mid-1980s, the films remained. In Sleazoid Express, Landis and Clifford reproduce what no home video can -- the experience of watching an exploitation film in its original fight-for-your-life Deuce setting. Both a travelogue of the infamous grindhouses of yore and a comprehensive overview of the sleaze canon, Sleazoid Express offers detailed reviews of landmark exploitation classics and paints intimate portraits of directors whose notorious creations played the back end of triple bills for years on end. With wit, intelligence, and an unflinching eye, Landis and Clifford offer the definitive document of cinema's most intense and shocking moments as they came to life at a legendary place.

    While the role may have given him eternal life on the silver screen, it doomed him to a career plagued by typecasting. After a decade of trying vainly to broaden his range and secure parts to challenge his acting abilities, Lugosi finally resigned himself to a career as the world's most recognizable vampire. His last years were spent as a forgotten and rather tragic figure.

    In this richly illustrated volume, renowned biographer Barry Paris offers the definitive biography of this fascinating and complex woman -- from her hardscrabble childhood in Sweden to her arrival in Hollywood at the age of nineteen, from her meteoric rise to stardom to her unintentional retirement from filmmaking at the height of her fame, from the new life she crafted for herself to her surprising, and failed, plans for a comeback. Drawing on hitherto unavailable material, including one hundred hours of tape-recorded conversations, fifty years of correspondence, and interviews with Garbo's surviving friends and family, Paris reveals the real woman behind the enigma.

    In this, his most accessible and evocative book, France’s leading philosopher of postmodernism takes to the freeways in a collection of traveler’s tales from the land of hyperreality.

    Described by one reviewer as “like getting stabbed in the head,” the $6 million film earned a grand total of $1,800 at the box office and closed after two weeks. Now in its tenth anniversary year, The Room is an international phenomenon to rival The Rocky Horror Picture Show. Thousands of fans wait in line for hours to attend screenings complete with costumes, audience rituals, merchandising, and thousands of plastic spoons.Readers need not have seen The Room to appreciate its costar Greg Sestero’s account of how Tommy Wiseau defied every law of artistry, business, and interpersonal relationships to achieve the dream only he could love. While it does unravel mysteries for fans, The Disaster Artist is more than just an hilarious story about cinematic hubris: It is ultimately a surprisingly inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of a supremely enigmatic man who will capture your heart.

    The book will explore:--Welles' meteoric rise to stardom in New York and the real reason behind his arrival in Hollywood--Welles' unprecedented contract with RKO Studios for total creative control and the deeper issues that impeded his work instead--The dispute over who wrote the script--The mystery of the "lost" final script, which the author has in his possession, and the missing scenes, which answer questions relating to the creation of the film--The plot by Hearst to destroy Welles' project through blackmail, media manipulation, and other tactics--A detailed look behind the scenes of a production process that was cloaked in secrecy--The surprising emergence of Citizen Kane as an enduring masterpieceUsing previously unpublished material from studio files and the Hearst organization, exclusive interviews with the last surviving members of the cast and crew, and what may be the only surviving copy of the "lost" final script of the film, Citizen Kane: A Filmmaker's Journey recounts the making of one of the most famous films in Hollywood history.

    Coincidentally it was the story of a legendary self-destructive director who returns to Hollywood from years of self-imposed exile in Europe. Welles swore it wasn’t autobiographical.The Other Side of the Wind was supposed to take place during a single day, and Welles planned to shoot it in eight weeks. It took twelve years and remains unreleased and largely unseen. The Last Movie is a fast-paced, behind-the-scenes account of the bizarre, hilarious and remarkable making of what has been called "the greatest home movie that no one has ever seen." Funded by the Shah of Iran’s brother-in-law, and based on a script that Welles rewrote every night for years, a final attempt to one-up his own best-work. It’s almost impossible to tell if art is imitating life or vice versa in the film. It’s a production best encompassed by its star, John Huston, who described the making of the film as "an adventure shared by desperate men that finally came to nothing."

    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.

    The girl with the pigtails, the symbol of innocence in The Wizard of Oz. The brightest star of the Hollywood musical and an entertainer of almost magical power. The woman of a half-dozen comebacks, a hundred heartbreaks, and thousands of headlines. Yet much of what has been written about her is either inaccurate or incomplete, and the Garland the world thought it knew was merely a sketch for the astonishing woman Gerald Clarke portrays in Get Happy. Here, more than thirty years after her death, is the real Judy.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    Kenneth Turan’s fifty-four favorite films embrace a century of the world’s most satisfying romances and funniest comedies, the most heart-stopping dramas and chilling thrillers.Turan discovered film as a child left undisturbed to watch Million Dollar Movie on WOR-TV Channel 9 in New York, a daily showcase for older Hollywood features. It was then that he developed a love of cinema that never left him and honed his eye for the most acute details and the grandest of scenes.Not to be Missed blends cultural criticism, historical anecdote, and inside-Hollywood controversy. Turan’s selection of favorites ranges across all genres. From All About Eve to Seven Samurai to Sherlock Jr., these are all timeless films—classic and contemporary, familiar and obscure, with big budgets and small—each underscoring the truth of director Ingmar Bergman’s observation that “no form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”

    Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

    To be fair, Ellmann does have some distinct advantages. For starters, there's his deep mastery of the Irish milieu--demonstrated not only in this volume but in his books on Yeats and Wilde. He's also an admirable stylist himself--graceful, witty, and happily unintimidated by his brilliant subjects. But in addition, Ellmann seems to have an uncanny grasp on Joyce's personality: his reverence for the Irishman's literary accomplishment is always balanced by a kind of bemused affection for his faults. Whether Joyce is putting the finishing touches on Ulysses, falling down drunk in the streets of Trieste, or talking dirty to his future wife via the postal service, Ellmann's account always shows us a genius and a human being--a daunting enough task for a fiction writer, let alone the poor, fact-fettered biographer. Richard Ellmann has revised and expanded his definitive work on Joyce's life to include newly discovered primary material, including details of a failed love affair, a limerick about Samuel Beckett, a dream notebook, previously unknown letters, and much more.