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.

    The first comprehensive biography of the writer/director of the Academy Award-winning "Pulp Fiction" who, in only a few short years, took the film industry by storm and became a critical and commercial phenomenon.

    Now you can share in the Master of Suspense's inspiration and development -- his entire creative process -- in Hitchcock's Notebooks.With the complete cooperation of the Hitchcock estate and access to the director's notebooks, journals, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production and publicity. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and Hitchcock's personal assistant of more than thirty years.Mirroring the director's working methods to give you the actual feel of his process, and highlighted by nearly nearly one hundred photographs and illustrations, this is the definitive guide into the mind of a cinematic legend.

    The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.

    He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.From the Hardcover edition.

    Within ten years, he was a millionaire businessman. After twenty years, he was the world’s biggest movie star. In 2003, he was elected governor of California and a household name around the world.Chronicling his embodiment of the American Dream, Total Recall covers Schwarzenegger’s high-stakes journey to the United States, from creating the international bodybuilding industry out of the sands of Venice Beach, to breathing life into cinema’s most iconic characters, and becoming one of the leading political figures of our time. Proud of his accomplishments and honest about his regrets, Schwarzenegger spares nothing in sharing his amazing story.

    Its old-fashioned, larger-than-life stars--including Bette Davis, Marilyn Monroe, Anne Baxter, George Sanders, and Celeste Holm--found their best roles in Eve and its sophisticated dialogue has entered the lexicon.But there's much more to know about All About Eve. Sam Staggs has written the definitive account of the making of this fascinating movie and its enormous incluence on both film and popular culture. Staggs reveals everything about the movie--from the famous European actress Margo Channing was based on to the hot-blooded romance on-set between Bette Davis and costar Gary Merrill, from the jump-start the movie gave Marilyn Monroe's career to the capstone it put on director Joseph L. Mankeiwicz's.All About "All About Eve" is not only full of rich detail about the movie, the director, and the stars, but also about the audience who loved it when it came out and adore it to this day.

    The sadistic killer with the flame-charred face. The knife-blade claws. The razor-sharp wit. Freddy...But you've never seen him like this. Unflinching. Uncensored. Unmasked.Meet Robert Englund, the award-winning actor best known for his role as Freddy Krueger -- the legendary horror icon featured on the American Film Institute's "100 Greatest Heroes and Villains" roster -- a character as unforgettable and enduring as Bela Lugosi's Dracula and Boris Karloff's Frankenstein. Now, for the first time, the man behind the latex mask tells his story in this captivating new memoir, published to celebrate the twenty-fifth anniversary of the first A Nightmare on Elm Street film.You see, Robert Englund is no monster at all, but a deeply funny, charming Hollywood veteran. Packed with Robert's hilarious stories, playful self-deprecation, and a generous helping of never-before-revealed A Nightmare on Elm Street trivia, Hollywood Monster offers an unparalleled look at the beloved film icon. With insider savvy and gallows humor, Robert recounts his audition for Wes Craven, the inspiration for Freddy's character, the grueling makeup sessions, his soon-to-be-famous costars, the often disastrous on-set blunders, and the wave of popularity that propelled this humble California surfer kid all the way to the top.Of course, fame and fortune as Freddy came years after the young actor shared a trailer with screen legend Henry Fonda, was punched in the face by Richard Gere, took down Burt Reynolds, and muscled his way between Arnold Schwarzenegger, Sally Field, and Jeff Bridges.But soon after his high-profile stint in the groundbreaking TV miniseries V, Robert Englund took on the most celebrated role of his career -- the macabre and wisecracking killer who quickly became a household name. From the moment Freddy Krueger dragged his claws across a rusty pipe in the opening dream sequence, a legend had been unleashed -- and a star was born. This is his story.

    The film united Britain's leading actor, Laurence Olivier, with Hollywood's most glamorous sex symbol, Marilyn Monroe - and clashes between them entered film legend.For one glorious week, the world's biggest star sought comfort in the arms of the set's most junior employee. This is the frank, fresh and comic story of how Clark came to share Monroe's confidences - and her bed!This edition combines Colin Clark’s acclaimed 'The Prince, the Showgirl and Me' (191995) and his 'My Week with Marilyn' (2005).'More illuminating than the millions of words and pictures pumped out to expose or dish the dirt on the Monroe legend.' - Sunday TelegraphClark’s extraordinary experiences on and off set have now been turned into a major film starring Michelle Williams, Eddie Redmayne, Judi Dench, Emma Watson, Kenneth Branagh and Dominic Cooper.

    Reel To Real collects hooks' classic essays on films such as Paris Is Burning or the infamous "Whose Pussy Is It" essay about Spike Lee's She's Gotta Have It, as well as newer work on Pulp Fiction, Crooklyn and Waiting To Exhale. hooks also examines the world of independent cinema. Conversations with filmmakers Charles Burnett, Julie Dash, and Arthur Jaffa are linked with critical essays, including a piece on Larry Clark's Kids, to show that cinema can function subversively as well as maintain the status quo.

    Equal parts memoir/family saga/film book, Growing Up with Manos: The Hands of Fate shares the behind-the-scenes story of the making of Manos: from creator Hal Warren's alleged bet with TV producer Stirling Silliphant that "anyone could make a movie," to the tragic suicide of John Reynolds (Torgo), right up through the newest Manos-related projects that are carrying the film into the digital age. Jackey's stories dispel much of the Manos mythology while crystallizing a unique time and place in America, where a crew of actors with a bad script and a rented camera set out to make a bad movie-and succeeded beyond their wildest dreams. Jackey Neyman Jones is a professional artist living in the Great Northwest. Laura Mazzuca Toops is a writer/editor with more than 30 years' experience in business and fiction writing. She is the author of three historical novels.

    Cary Grant...Hollywood's ultimate ladies' man...the silver screen's most ardent lover. But beyond his portrayal of the sophisticated romantic hero in movies like "The Philadelphia Story" and "Notorious" was a man haunted by fear and self-doubt which affected his career as well as his personal life.

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film — “the comedy of remarriage” — and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence.Included are Adam’s Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.

    This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, and discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.