She carefully unspools the cultural threads that inform his aesthetic to explain why this precocious arthouse film nerd from Texas has become one of the most popular directors of his generation.

    His beloved sister had just died of leukemia. He lost his job. He had three young children. He was in his late 30s…. And he had no experience in filmmaking.As Boman navigates his way through USC's arduous three-year graduate production program, he finds that his films fall flat, he's threatened with being kicked out of the program and he becomes the old guy no one wants to work with. Defeated, he quits and moves back to the Midwest to be with his family. After he is urged by his wife to reapply, he miraculously gets in for a second time...only to have a stroke on the first day of classes. But instead of doing the easy thing—running away again—Boman throws caution to the wind and embraces the challenge. He slowly becomes a gray-haired Golden Boy at USC with films that sparkle. And then he does the impossible: While still in school, for a class project, he dreams up a television series that CBS catches wind of and develops into THREE RIVERS, a primetime Sunday night show.This story of challenge and triumph—and what it takes to make it in the world’s most famous film school—is a must-read for anyone aspiring to become a Hollywood great or anyone just looking for a good story.

    Travel with him as he chaperones three out-of-control child actors as they barnstorm Japan, almost drowns actress Catherine Keener in her first film role, and transforms a short story about Elvis Presley battling a four thousand year-old Egyptian mummy into a beloved cult classic film.Witness the incredible cast of characters he meets along the way from heavy metal god Ronnie James Dio to first-time filmmakers Quentin Tarantino and Roger Avary. Learn how breaking bread with genre icons Tobe Hooper, John Carpenter and Guillermo Del Toro leads to a major cable series and watch as he and zombie king George A. Romero together take over an unprepared national network television show with their tales of blood and horror.This memoir fits an entire film school education into a single book. It's loaded with behind-the-scenes stories: like setting his face on fire during the making of Phantasm, hearing Bruce Campbell's most important question before agreeing to star in Bubba Ho-tep, and crafting a horror thriller into a franchise phenomenon spanning four decades. Find out how Coscarelli managed to retain creative and financial control of his artistic works in an industry ruled by power-hungry predators, and all without going insane or bankrupt.True Indie will prove indispensable for fans of Coscarelli's movies, aspiring filmmakers, and anyone who loves a story of an underdog who prevails while not betraying what he believes.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.

    "Basil Rathbone's book about himself...is better written than most books by or about actors and is more intellectually vigorous...Sherlock Holmes fans will be much interested in his remarks on the character with whom he has been so closely identified." -Library Journal "Quite naturally full of memories, full of names, full of glimpses of stars of stage and screen of yesterday and today." -New York Times Book Review

    Fully illustrated, this book includes an Indian song-and-dance version of Dracula; Turkish version of Star Trek and Superman; China's "hopping vampire" films, and much more.

    Here are the great divas, Pola Negri and Gloria Swanson; the great flappers, Colleen Moore and Clara Bow; the great cowboys, William S. Hart and Tom Mix; and the great lover, John Gilbert. Basinger also includes the quintessential slapstick comedienne, Mabel Normand, with her Keystone Kops; the quintessential all-American hero, Douglas Fairbanks; and, of course, the quintessential all-American dog, Rin-Tin-Tin.

    Scott Poole is a whip-smart piece of pop culture detailing the story of cult horror figure Vampira that actually tells the much wider story of 1950s America and its treatment of women and sex, as well as capturing a fascinating swath of Los Angeles history.In Vampire, Poole gives us the eclectic life of the dancer, stripper, actress, and artist Maila Nurmi, who would reinvent herself as Vampira during the backdrop of 1950s America, an era of both chilling conformity and the nascent rumblings of the countercultural response that led from the Beats and free jazz to the stirring of the LGBT movement and the hardcore punk scene in the bohemian enclave along Melrose Avenue. A veteran of the New York stage and late nights at Hollywood's hipster hangouts, Nurmi would eventually be linked to Elvis, Orson Welles, and James Dean, as well as stylist and photographer Rudi Gernreich, founder of the Mattachine Society and designer of the thong. Thanks to rumors of a romance between Vampira and James Dean, his tragic death inspired the circulation of stories that she had cursed him and, better yet, had access to his dead body for use in her dark arts.In Poole's expert hands, Vampira is more than the story of a highly creative artist continually reinventing herself, but a parable of the runaway housewife bursting the bounds of our straight-laced conventions with an exuberant display of camp, sex, and creative individuality that owed something to the morbid New Yorker cartoons of Charles Addams, the evil queen from Disney's Snow White, and the popular, underground bondage magazine Bizarre, and forward to the staged excesses of Madonna and Lady Gaga. Vampira is a wildly compelling tour through a forgotten piece of pop cultural history, one with both cultish and literary merit, sure to capture the imagination of Vampira fans new and old.

    (assistant director) knowingly mumbles "Gone With the Wind in the morning, Dukes of Hazzard after lunch"? An oral tradition gathered and passed down for more than a hundred years, the language of moviemaking, like other secret lexicons, is the only accepted way of communicating on a set—and is all but unknown to the outside world. Technical, odd, colorful, mysterious, the working language of movies sheds light not only on the hugely complex process of making a film, but on the invisible hierarchies of a set, the unspoken etiquette between cast and crew, and the evolution of a process that's endlessly fascinating.Movie Speak is a book about language, but through language also a book about what it’s really like to be a director or a producer or an actor or a crew member. An Oscarwinning producer (The Sting), actor (who worked with Spielberg, Coppola, and Sydney Pollock), and director (Five Corners, Flyboys, My Bodyguard, and more), Tony Bill has been on sets for more than 30 years and brings a writer's love of language to this collection of hundreds of film terms. A futz. A cowboy. A Brodkin and a double Brodkin (a.k.a. screamer). Streaks ’n tips, a Lewinsky, Green Acres, rhubarb, a peanut, a Gary Coleman, snot tape, twin buttes, manmaker (and why you can yell for one if needed for a grip, but must whisper if it's for Tom Cruise)—these are the tricks of the trade.

    Slated for production immediately following the release of 2001: A Space Odyssey, Kubrick’s "Napoleon" was to be at once a character study and a sweeping epic, replete with grandiose battle scenes featuring thousands of extras. To write his original screenplay, Kubrick embarked on two years of intensive research; with the help of dozens of assistants and an Oxford Napoleon specialist, he amassed an unparalleled trove of research and preproduction material, including approximately 15,000 location scouting photographs and 17,000 slides of Napoleonic imagery. No stone was left unturned in Kubrick's nearly-obsessive quest to uncover every piece of information history had to offer about Napoleon. But alas, Kubrick’s movie was not destined to be: the film studios, first M.G.M. and then United Artists, decided such an undertaking was too risky at a time when historical epics were out of fashion. TASCHEN’s tribute to this unmade masterpiece makes Kubrick’s valiant work on "Napoleon" available to fans for the first time. Based on the original 2009 limited edition which featured ten books hidden inside of a carved out reproduction of a Napoleon history book, this publication brings all the original elements together in one volume. Herein, all of the books from the original edition are reproduced in facsimile: correspondence, costume studies, location scouting photographs, research material, script drafts, and more. Kubrick’s final draft is reproduced in its entirety. The text book features the complete original treatment, essays examining the screenplay in historical and dramatic contexts, an essay by Jean Tulard on Napoleon in cinema, and a transcript of interviews Kubrick conducted with Oxford professor Felix Markham. The culmination of years of research and preparation, this unique publication offers readers a chance to experience the creative process of one of cinema’s greatest talents as well as a fascinating exploration of the enigmatic figure that was Napoleon Bonaparte. *Includes access to searchable/downloadable online research database: Kubrick's complete picture file of nearly 17,000 Napoleonic images*

    Acclaimed biographer Patrick McGilligan re-examines his life and extraordinary work, challenging perceptions of Hitchcock as the “macabre Englishman” and sexual obsessive, and reveals instead the ingenious craftsman, trickster, provocateur, and romantic.With insights into his relationships with Hollywood legends – such as Cary Grant, James Stewart, Ingrid Bergman, and Grace Kelly – as well as his 54-year marriage to Alma Reville and his inspirations in the thriller genre, the book is full of the same dark humor, cliffhanger suspense, and revelations that are synonymous with one of the most famous and misunderstood figures in cinema.

    Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was--a rather disappointing film musical.In Roadshow!, film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly! and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War.From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow! offers a brilliant, gripping history of film musicals and their changing place in our culture.

    "[S]urprisingly vivid accounts" (People) of such public icons as Lana Turner, Rock Hudson, Kim Novak, and Mae West explore the private scandals exploited by tabloids such as Confidential. Highlighting Hollywood's curious religious revival with The Robe, the film industry's exploitation of the potboiler Peyton Place, and the life of anarchic director Nick Ray of the enduring classic Rebel without a Cause, the authors "[give] a compelling sense" (Kirkus Reviews) of the unique obsessions of the era and the city's attempts to reinvent the magic and mystery of its past glories. Guided by the authors' historical savvy and intimate storytelling, we discover a city at a crossroads, attempting to reinvent the magic and mystery of its past glories. Tragic, irreverent, and always entertaining, The Bad and the Beautiful reveals the underground history of this turbulent decade in American film.

    

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.