Films, cinema Books

Book SynopsisSALMAN RUSHDIE is the author of eleven previous novels Luka and the Fire of Life, Grimus, Midnight's Children (for which he won the Booker Prize and the Best of the Booker), Shame, The Satanic Verses, Haroun and the Sea of Stories, The Moor's Last Sigh, The Ground Beneath Her Feet, Fury, Shalimar the Clown and The Enchantress of Florence and one collection of short stories, East, West. He has also published three works of nonfiction The Jaguar Smile, Imaginary Homelands: Essays and Criticism 19811991, and Step Across This Line and coedited two anthologies, Mirrorwork and Best American Short Stories 2008. He is the former president of American PEN.

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Book SynopsisRYAN GILBEY writes on film for the Independent, the Guardian, and Sight and Sound and is author of It Don't Worry Me (2004).

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Book SynopsisIn this work, Joan Mellen analyses 'In the Realm of the Senses', the controversial film which caused a sensation at the 1976 Cannes Film Festival.Joan Mellen is Professor of English and Creative Writing at Temple University and author of Seven Samurai (BFI, 2002).

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Book SynopsisWent the Day Well? is one of the most unusual pictures Ealing Studios produced,a distinctly unsentimental war film made in the darkest days of World War II,and nothing like the loveable comedies that later became the Ealing trademark.Its clear-eyed view of the potential for violence lurking just below the surfacein a quiet English village possibly owes something to the Graham Greene storyon which it is based, though, as Penelope Houston shows, there remains amystery about the extent to which Greene was actually involved in the scripting.Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within theEaling coterie, is the chief reason why Went the Day Well? avoids the cosy feel oflater, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20thanniversary of the BFI Film Classics series, Geoff Brown pays homage toPenelope Houston''s astute study, and places the book in the context of Went theDay Well?''s changing critical recep

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Book SynopsisSupernatural premiered on September 14, 2005, on what was then called the WB Network. Creator Eric Kripke was inspired by Jack Kerouac’s On The Road, putting his heroes, brothers Sam and Dean Winchester, in a big black ’67 Impala and sending them in search of the urban legends that fascinated him. The series attracted a passionate fan base from the start and was described as a 'cultural attractor' that tapped into the zeitgeist of the moment, reflecting global fears of terrorism with its themes of fighting unseen evil. The chemistry between the lead actors, Jared Padalecki and Jensen Ackles, contributed to the show’s initial success, and Supernatural found its niche when it combined demon-hunting adventures with a powerful relationship drama that explored the intense, complicated bond between the brothers. Supernatural is as much a story of familial ties, love and loyalty as it is of 'saving people, hunting things.' Fan Phenomena: Supernatural explores the ongoing fascination and passion for a show that developed a relationship with fans through eight seasons and continues to have an impact on fan culture to the present day. Essays here explore the rich dynamic that has developed between fans and producers, actors, writers, directors, the show creator and show-runners through online interactions on Twitter and Facebook, face-to-face exchanges at conventions and representations of fandom within the show’s meta-episodes. Contributors also explore gender and sexuality in the show and in fan art; the visual dynamics, cinematography and symbolism in the episodes as well as the fan videos they inspire; and the culture of influence, learning and teaching in the series.Trade Review'If you love Supernatural, you’ll love this book. ' -- Jeanne Griggs, Necromancy Never Pays'I thoroughly enjoyed this book and appreciated learning new things about my fandom. My personal opinion? Go ahead and just buy this book now; the well rounded articles, essays and academic viewpoints are well worth this books induction into your collection. You will not be disappointed.' -- Heather Bond, Fan Front Magazine'Truth is; if you really want to understand fandom – whether you are part of the community or not – you can’t just look at it from one point of view. That’s what’s so great about Fan Phenomena: Supernatural, it presents a variety of perspectives from bloggers to academics to actors that have appeared on the show, all of whom are part of the Supernatural fandom in their own way.' -- Yvonne Popplewell, The GeekiaryTable of ContentsIntroduction – Lynn Zubernis and Katherine Larsen Teaching Through Supernatural: Using SPN in the College Classroom – Paul Booth The Monstrous Male Body – Bridget Kies I See What You Did There: SPN and the Fourth Wall – Lisa Macklem Post, Reblog, Follow, Tweet: Supernatural Fandom and Social Media – Jules Wilkinson Fan Appreciation no.1 Ash48: The Vidder Family Don't End With Blood: Building the Supernatural Family – Mary Frances Casper Supernatural: Making a Difference is the Meaning of Life – Mary F. Dominiak ('Bardicvoice') Life Changing: Supernatural and the Power of Fandom – Misha Collins Fan Appreciation no.2 Serge Laudouceur: The Cinematographer The Pro of Cons – Richard Speight, Jr.

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Book SynopsisNo-one who has ever seen the original The Texas Chain Saw Massacre (1974) is ever likely to forget the experience. An intense fever dream (or nightmare), it is remarkable for its sense of sustained threat and depiction of an insane but nonetheless (dys)functional family on the furthest reaches of society who have regressed to cannibalism in the face of economic hardship. As well as providing a summary of the making of the film, James Rose discusses the extraordinary censorship history of the film in the UK (essentially banned for two decades) and provides a detailed textual analysis of the film with particular reference to the concept of 'the Uncanny'. He also situates the film in the context of horror film criticism (the 'Final Girl' character) and discusses its influence and subsequent sequels and remakes.Trade ReviewIn-depth, elegant, focused.... Like any good film criticism/appreciation book, it leaves you wanting to revisit the movie as soon as possible. * HorrorTalk *You may think you know Hooper's film, but after reading this Devil's Advocate dissection you will look upon it in a whole new light. * Starburst Magazine *Table of ContentsTobe Hooper and the Making of The Texas Chain Saw MassacreThe Texas Chain Saw Massacre and the BBFCBad OmensThe Charnel HouseThe FamilyThe UncannyLegacyBibliography

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Book SynopsisThis book rediscovers how there once was a Hollywood Right. Using extensive new archival material, Donald Critchlow reveals how Hollywood Republicans remade America by successfully backing such candidates as Richard Nixon, Ronald Reagan and George Murphy. Readers will never think about Hollywood politics again in the same way.Trade Review'When Hollywood Was Right offers a lesson for today of how an embattled, factionalized Republican Party came together to elect a principled and pragmatic conservative, Ronald Reagan, to the presidency. Plus this is a damn good read.' Barry Goldwater, Jr, former United States Congressman'Hollywood wasn't always a stronghold of the political Left. Back in the days after World War II, many movie moguls and movie stars - Louis B. Mayer, Cecil B. DeMille, Walt Disney, John Wayne, George Murphy - worked to revitalize the Republican Party. Donald Critchlow tells the exciting story of how they did, and how they helped elect Richard Nixon and Ronald Reagan president.' Michael Barone, Senior Political Analyst, Washington Examiner, Resident Fellow, American Enterprise Institute, and co-author, The Almanac of American Politics'While liberal movie stars vociferously proclaim that the blacklisted Hollywood Ten were innocent of any wrongdoing, Donald T. Critchlow presents the opposite view starting from the Great Depression and ending with the presidential election of Ronald Reagan. Written judiciously with passion and verve, this volume should be standard reading …' Irwin F. Gellman, Franklin and Marshall College, and author of Secret Affairs, The Contender, and The President and the Apprentice'Few people have more insightful things to say about modern politics than the historian Donald Critchlow. Now Critchlow has focused his keen political and historical skills on Hollywood. The result is a provocative, smart, original, and entertaining book that should be required reading for all students of American politics and popular culture.' Steven M. Gillon, Scholar-in-Residence, The History Channel'Don Critchlow has done it again. When Hollywood Was Right is the most comprehensive and detailed account of an epic that is too often told in black and white cartoonish tones. Critchlow captures the paradoxes of how the left-right clashes of the mid-twentieth century affected Hollywood, in many cases for the better. This fine-grained narrative, brimming with new detail Critchlow has unearthed from unused archives, leaves us wondering what is being lost in today's almost monolithically leftist Hollywood.' Steven Hayward, Thomas Smith Distinguished Fellow, Ashland University'This incisive, first-rate study is based on extensive archival research. When Hollywood Was Right masterfully tells how anticommunism drove film industry executives, directors, and stars, allied with business leaders, to remake the Republican Party in California after World War II. As Professor Donald T. Critchlow astutely argues, the result had national implications. These conservatives backed Richard Nixon and ultimately put one of their own, Ronald Reagan, in the White House.' William J. Rorabaugh, University of Washington and author of The Real Making of the President: Kennedy, Nixon, and the 1960 Election'Donald Critchlow's When Hollywood Was Right helps puncture the myth that Hollywood has always been an unopposed bastion of liberalism. Surveying Hollywood's political landscape from the 1930s to 1980, Critchlow deftly reveals how Republican movie stars, studio moguls, and Southern California business leaders worked together to rebuild their party and help launch a conservative revolution that transformed the shape of American politics.' Steven J. Ross, University of Southern California, and author of Hollywood Left and Right: How Movie Stars Shaped American Politics'This is a book well worth reading. Certainly every academic library should own a copy.' Hope Leman, Critical Margins (criticalmargins.com)'The stories Critchlow tells are fascinating in their own right. From a broader perspective, they also help inform our understanding of the complicated pathways by which some major American institutions - the film industry, journalism, academia - have, over time, come to tilt further to the left (not uniformly, as the book makes clear), while other institutions - religion, law, corporate America and the GOP itself - have come to lean further to the right.' Neil Gross, salon.com'The idea of an era in which Hollywood exerted a substantial influence in Republican politics seems almost science fictional … When Hollywood Was Right offers an insightful examination of just such a strange proposition.' Commentary'Critchlow goes beyond the production sets and screenplays. He shows how Hollywood actually aided the electoral prospects of Republican presidential candidates Dwight Eisenhower and Richard Nixon.' The Weekly StandardTable of ContentsIntroduction; 1. Setting the stage in the 1930s: Republicans on defense; 2. Anti-communism comes to Hollywood; 3. The Red Scare hits Hollywood; 4. Nixon plays Hollywood; 5. The Hollywood Right goes for Goldwater and finds Reagan; 6. Ronald Reagan: triumph and decline of the Hollywood Right.

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Book SynopsisCollects manifestoes from the global history of cinema, providing an historical and theoretical account of the role played by film manifestos in filmmaking and film culture. This book uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema.Trade Review"The most important film book of the year ... required reading for both students and lovers of cinema." CHOICETable of ContentsAcknowledgments Introduction. "An Invention without a Future" 1. The Avant-Garde(s) The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin The ABCs of Cinema (France, 1917--1921) Blaise Cendrars WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov The Method of Making Workers' Films (USSR, 1925) Sergei Eisenstein Constructivism in the Cinema (USSR, 1928) Alexei Gan Preface: Un chien Andalou (France, 1928) Luis Bunuel Manifesto of the Surrealists Concerning L'Age d'or (France, 193) The Surrealist Group Manifesto on "Que Viva Mexico" (USA, 1933) The Editors of Experimental Film Spirit of Truth (France, 1933) Le Corbusier An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) Laszlo Moholy-Nagy Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute Prolegomena for All Future Cinema (France, 1952) Guy Debord No More Flat Feet! (France, 1952) Lettriste International The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaitre, and Gabriel Pomerand The Only Dynamic Art (USA, 1953) Jim Davis A Statement of Principles (USA, 1961) Maya Deren The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice From Metaphors on Vision (USA, 1963) Stan Brakhage Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. Discontinuous Films (Canada, 1967) Keewatin Dewdney Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton Elements of the Void (Greece, 1972) Gregory Markopoulos Small Gauge Manifesto (USA, 198) JoAnn Elam and Chuck Kleinhans Cinema of Transgression Manifesto (USA, 1985) Nick Zedd Modern, All Too Modern (USA, 1988) Keith Sanborn Open Letter to the Experimental Film Congress: Let's Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas The Decalogue (Czech Republic, 1999) Jan Svankmajer Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman 2. National and Transnational Cinemas From "The Glass Eye" (Italy, 1933) Leo Longanesi The Archers' Manifesto (UK, 1942) Michael Powell and Emeric Pressburger What Is Wrong with Indian Films? (India, 1948) Satyajit Ray Bunuel the Poet (Mexico, 1951) Octavio Paz French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini A Certain Tendency in French Cinema (France, 1954) Francois Truffaut Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem Free Cinema Manifestos (UK, 1956--1959) Committee for Free Cinema The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jorda, and Julian Marcos How to Make a Canadian Film (Canada, 1967) Guy Glover How to Not Make a Canadian Film (Canada, 1967) Claude Jutra From "The Estates General of the French Cinema, May 1968" (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen What Is to Be Done? (France, 197) Jean-Luc Godard The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. Manifesto I (Denmark, 1984) Lars von Trier Manifesto II (Denmark, 1987) Lars von Trier Manifesto III: I Confess! (Denmark, 199) Lars von Trier The Cinema We Need (Canada, 1985) R. Bruce Elder Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur Dogme '95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine Cinema and Underdevelopment (Argentina, 1962) Fernando Birri The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha For an Imperfect Cinema (Cuba, 1969) Julio Garcia Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino Film Makers and the Popular Government Political Manifesto (Chile, 197) Comite de cine de la unidad popular Consciousness of a Need (Uruguay, 197) Mario Handler Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez The Cinema: Another Face of Colonised Quebec (Canada, 1971) Association professionnelle des cineastes du Quebec 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. The Luz e Acao Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjines Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Federation panafricaine des cineastes) Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema What Is the Cinema for Us? (Mauritania, 1979) Med Hondo Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Federation panafricaine des cineastes) Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Banos, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri FeCAViP Manifesto (France, 199) Federation of Caribbean Audiovisual Professionals Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 199) SADCC (South African Development Coordination Conference) Pocha Manifesto #1 (USA, 1994) Sandra Pena-Sarmiento Poor Cinema Manifesto (Cuba, 24) Humberto Solas Jollywood Manifesto (Haiti, 28) Cine Institute The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos Woman's Place in Photoplay Production (USA, 1914) Alice Guy-Blache Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono Statement (USA, 1969) Kenneth Anger Wet Dream Film Festival Manifesto (The Netherlands, 197) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) Women's Cinema as Counter-Cinema (UK, 1973) Claire Johnston Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Federation europeenne du cinema progressiste) Womanifesto (USA, 1975) Feminists in the Media Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjoman For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen Wimmin's Fire Brigade Communique (Canada, 1982) Wimmin's Fire Brigade Thoughts on Women's Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Federation panafricaine des cineastes) Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windelov, Lene Borglum, et al. Cinema with Tits (Spain, 1998) Iciar Bollain My Porn Manifesto (France, 22) Ovidie No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow Barefoot Filmmaking Manifesto (UK, 29) Sally Potter Dirty Diaries Manifesto (Sweden, 29) Mia Engberg 5. Militating Hollywood Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals Screen Guide for Americans (USA, 1947) Ayn Rand White Elephant Art vs. Termite Art (USA, 1962) Manny Farber Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg Full Frontal Manifesto (USA, 21) Steven Soderbergh 6. The Creative Treatment of Actuality Towards a Social Cinema (France, 193) Jean Vigo From "First Principles of Documentary" (UK, 1932) John Grierson Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston Declaration of the Group of Thirty (France, 1953) Jean Painleve, Jacques-Yves Cousteau, Alain Resnais, et al. Initial Statement of the Newsreel (USA, 1967) New York Newsreel Nowsreel, or the Potentialities of a Political Cinema (USA, 197) Robert Kramer, New York Newsreel Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog Defocus Manifesto (Denmark, 2) Lars von Trier Kill the Documentary as We Know It (USA, 22) Jill Godmilow Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy Documentary Manifesto (USA, 28) Albert Maysles China Independent Film Festival Manifesto: Shamans * Animals (People's Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival 7. States, Dictatorships, the Comintern, and Theocracies Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Munzenberg The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas Creative Film (Germany, 1935) Joseph Goebbels Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI Four Cardinal Points of A Revolucao de Maio (Portugal, 1937) Antonio Lopes Ribeiro From On the Art of Cinema (North Korea, 1973) Kim Jong-il 8. Archives, Museums, Festivals, and Cinematheques A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski The Film Prayer (USA, c. 192) A. P. Hollis The Film Society (UK, 1925) Iris Barry Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men'no Ter Bbaak, et al. Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 The Importance of Film Archives (UK, 1948) Ernest Lindgren A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas A Declaration from the Committee for the Defense of La Cinematheque francaise (France, 1968) Committee for the Defense of La Cinematheque francaise Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow Anthology Film Archives Manifesto (USA, 197) P. Adams Sitney Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick Don't Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La federation internationale des archives du film Manifesto Working Group The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai Film Festival Form: A Manifesto (UK, 212) Mark Cousins 9. Sounds and Silence A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov A Rejection of the Talkies (USA, 1931) Charlie Chaplin A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. 10. The Digital Revolution Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf The Pluginmanifesto (UK, 21) Ana Kronschnabl Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz 11. Aesthetics and the Futures of the Cinema The Birth of the Sixth Art (France, 1911) Ricciotto Canudo Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney The Birth of a New Avant Garde: La camera-stylo (France, 1948) Alexandre Astruc From Preface to Film (UK, 1954) Raymond Williams The Snakeskin (Sweden, 1965) Ingmar Bergman Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson Remodernist Film Manifesto (USA, 28) Jesse Richards The Age of Amateur Cinema Will Return (People's Republic of China, 21) Jia Zhangke Appendix. What Is a Manifesto Film? Notes Acknowledgments of Permissions Index

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Book SynopsisAnimation variously entertains, enchants, and offends, yet there have been no convincing explanations of how these films do so. This book proposes performance as the common touchstone for understanding the principles underlying the construction, execution, and reception of cartoons.Table of ContentsContents List of Illustrations Preface Acknowledgments Introduction: Six Cartoon Conundra Part One: Animation Performance 1. Performance in and of Animation 2. Live and in Person: Toons! Part Two: Historical Contingencies 3. The Acme of Variegated Entertainment 4. Shadow of a Mouse: Animation Performance Spaces Part Three: Instrumental Animation 5. Infectious Laughter 6. Animation and Autophagy: Art that Consumes Itself Coda: The Shadow of a Mouse's Tail Notes Bibliography Index

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Book SynopsisIn this richly detailed study, James Naremore focuses on the work of film acting, showing what players contribute to movies. Ranging from the earliest short subjects of Charles Chaplin to the contemporary features of Robert DeNiro, he develops a useful means of analyzing performance in the age of mechanical reproduction; at the same time, he reveals the ideological implications behind various approaches to acting, and suggests ways that behavior on the screen can be linked to the presentation of self in society. Naremore's discussion of such figures as Lillian Gish, Marlene Dietrich, James Cagney, and Cary Grant will interest the specialist and the general reader alike, helping to establish standards and methods for future writing about performers and their craft.Table of ContentsAcknowledgments 1 Introduction PART ONE Performance in the Age of Mechanical Reproduction 2 Protocols The Performance Frame What Is Acting? The Actor and the Audience 3 Rhetoric and Expressive Technique 4 Expressive Coherence and Performance within Performance 5 Accessories Expressive Objects Costume Makeup PART TWO Star Performances 6 Lillian Gish in True Heart Susie (1919) 7 Charles Chaplin In The Gold Rush (1925) 8 Marlene Dietrich in Morocco (1930) 9 James Cagney in Angels with Dirty Faces (1938) 10 Katharine Hepburn in Holiday (1938) 11 Marlon Brando In On the Waterfront (1954) 12 Cary Grant in North by Northwest (1959) PART THREE Film as a Performance Text 13 Rear Window (1954) 14 The King of Comedy (1983) Selected Bibliography Index

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Book SynopsisThe celebrated underground smash that was Cinema Sewer Magazine has been transformed into Cinema Sewer: The Book! Get volume 5 now!

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisNi! Peng! Nee-wom! Applause Theatre & Cinema Books revered and august publisher of weighty tomes on all things histrionic is proud to present ÊMonty Python FAQ: All That''s Left to Know About Spam Grails Spam Nudging Bruces and SpamÊ the only 127% unauthorized guide to the greatest comedy troupe to ever feature Graham Chapman John Cleese Terry Gilliam Eric Idle Terry Jones and Michael Palin to what is doubtlessly an astute and discerning global audience! Written in Applause''s popular FAQ format this behemoth pack a broad range of historical trivia trivial history illicit paraphernalia and sophomoric overeducation into a tastefully apportioned ranged of eminently readable silly-walk-accessible chapters sure to delight Python newcomers and veterans alike.ÞRather than offering narrow analyses of the quintet''s work ÊMonty Python FAQÊ ganders at the big picture tracing the Pythons across space time and media format. This noble quest for meaning leaves no turn unston

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Book SynopsisThis updated edition of Cinema in the Digital Age takes a fresh look at the state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image and examines how recent films have disguised and erased their digital foundations.Trade ReviewOver the last several decades, digital technologies have profoundly changed the ways that movies are made, as well as the ways that we watch them. But these changes are neither simple nor straightforward. In Cinema in the Digital Age, Nicholas Rombes surveys these changes with a kaleidoscopic collage of observations, suggestions, and extrapolations. -- Steven Shaviro, DeRoy Professor of English, Wayne State UniversityNicholas Rombes' updated version of Cinema in the Digital Age is a playful and provocative work. His book offers a compelling and creative approach to film criticism grounded in the material aspects of digital media as it becomes our everyday mode for making, distributing, watching, and sharing movies. -- Chuck Tryon, Fayetteville State UniversityThe rise of digital has changed not only the ways films are made, but the ways they are watched, thought, and dreamed about. In this revised edition of his groundbreaking Cinema in the Digital Age, Nicholas Rombes thrillingly identifies the essential films, technologies and practices emblematizing the rupture of digital before peering, with both anxiety and excitement, into the pixel-smeared wilderness ahead. -- Scott Macaulay, editor-in-chief, Filmmaker Magazine; producer, Forensic FilmsLike the first edition, Rombes's revised edition proves a relevant resource for film and digital media scholars. * Choice *Table of ContentsAcknowledgmentsPreface to the Revised EditionPreface1. Accelerationism2. The Adorno Paradox3. Against Method4. Analog/Digital Splice5. Blood, Simple6. Boredom and Analog Nostalgia7. The Digital Spectacular8. Disposable Aesthetics9. DV Humanism10. Filmless Films11. Frame Dragging12. The Ideology of the Long Take13. Image/Text14. Incompleteness15. Interfaces16. iPod Experiment17. Ironic Mode18. Looking at Yourself Looking: Avatar as Spectator19. The Lost Underground20. Love in the Time of Fragments21. Media as Its Own Theory22. Mobile Viewing23. Moving Space in the Frame, and a Note on Film Theory24. Natural Time25. Nonlinear26. Paranormal Activity 227. Pausing28. Punk29. Realism30. Real Time31. The Real You32. The Reality Industrial Complex33. Remainders34. Sampling35. Secondary Becomes Primary36. Self-Deconstructing Narratives37. Shaky Camera38. Shoot!39. Simultaneous Cinema40. Small Screens41. Target Video42. Time, Memory43. Time-Shifting44. Timesis: Skimming and Skipping45. Undirected Films46. Viewer Participation47. Virtual Humanism: Part 148. Virtual Humanism: Part 249. Visible Language, Spring 197750. Interpreting Film Images Through Randomized Constraint: The Blue Velvet ProjectFilmographyBibliography

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Book SynopsisHARPO SPEAKS PB

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Book SynopsisFrom Warner Bros. Pictures and Metro-Goldwyn-Mayer Pictures, Tomb Raider follows the treacherous journey of a young Lara Croft as she takes her first steps toward becoming a global hero. Academy Award™ winner Alicia Vikander (Ex Machina, The Danish Girl) stars in the lead role, under the direction of Roar Uthaug (The Wave). Showcasing lavish concept art, behind the scenes photos, insight into the stunts, and fascinating contributions from cast and crew, Tomb Raider, The Art and Making of the Film, is the perfect companion to this highly-anticipated release.Trade Review“Lara Croft’s death-defying exploits...are jaw-dropping on the page too” - EW.com“This is an excellent and well researched book, showing all the moving pieces that make up a movie adaptation. Great for any fan.” - Adventures in Poor Taste“a fantastic companion piece for anyone who loved the movie, and enjoys playing the games” - Geekisphere “Titan Books has produced many high quality film books in the past, and this one is no exception” - Atomic Moo “demonstrates the physicality and passion that the great Alicia Vikander brought to the role” The Film Stage

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Book SynopsisThe Number One Sunday Times bestseller and international phenomenon by Stephenie Meyer is now a major motion picture!

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Book SynopsisPublished to coincide with the 20th anniversary of one of the most seminal British films ever made

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Book SynopsisMost Batman fans have enjoyed the Dark Knight in comics or on the big screen and are eagerly anticipating the release of the new Justice League movie. But only real fans know the other characters who have donned the cowl in place of Bruce Wayne, or know the full origin stories of those who make up the rogues gallery. 100 Things Batman Fans Should Know & Do Before They Die is the ultimate resource for true fans, whether you're a comic book collector, an aficionado of Christopher Nolan's films, or both! Joseph McCabe of Nerdist.com has collected every essential piece of Dark Knight knowledge and trivia, as well as must-do activities, and ranks them all from 1 to 100, providing an entertaining and easy-to-follow checklist as you progress on your way to fan superstardom. Contains exclusive interviews with Batman creators!

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Book SynopsisOriginally published in 1977 and long out of print, Maurice Yacowar's Hitchcock's British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock's mature period in Hollywood, from the late 1940s to the early 1960s, represented the director's best work. In this traditional auteurist examination of Hitchcock's early work, author Maurice Yacowar considers Hitchcock's British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films' verbal effects. Yacowar's readings remain compelling more than thirty years after they were written, and someon Downhill, Champagne, and Waltzes from Viennaare among the few extended interpretations of these films that exist. Alongside important works such as Murder!, the first The Man Who Knew Too Much, Secret AgTrade ReviewFor anyone interested in Alfred Hitchcock this is a must for the collection and will invite a new look at those rarer and the lesser known of his films...""- Chris Hick, Filmwerk;""Hitchcock's British Films remains the most illuminating and comprehensive discussion of Hitchcock's work before he moved to California. It is lucid, well balanced in its understandings of the films, informative (especially regarding Hitchcock's use of the novels and plays that were sources of most of his screenplays), and comprehensive.""- Lesley Brill, professor of English at Wayne State University and author of The Hitchcock Romance: Love and Irony in Hitchcock's Films and Crowds, Power, and Transformation in Cinema (Wayne State University Press, 2006);""How welcome to see Hitchcock's British Films back in print. For a long time it was the only full-length treatment of Hitchcock's formative period, and Yacowar's analyses of specific films remain so well judged, articulate, and penetrating that his book has scarcely dated since the day it was published over thirty years ago.""- Thomas Leitch, professor of English at the University of Delaware, co-editor of the forthcoming A Companion to Hitchcock Studies, and author of Perry Mason (Wayne State University Press, 2005)

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Book SynopsisThe first book offering an extensive analysis of literary and cinematic narratives dealing with the 1919 anti-colonial revolution in Egypt.

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Book SynopsisWhat happens when a girl tries to grow up in a world where everyone wants her to remain a child?Hayley Mills'' teenage decade in Hollywood produced some of the era''s greatest coming-of-age family movies: classics like Pollyanna, The Parent Trap and In Search of the Castaways, and in Britain the acclaimed Whistle Down the Wind. These films made Hayley a genuine teen idol and a household name. Now and for the first time, Hayley reveals the truth of her own coming-of-age story, in her own words - a story of incredible twists of fate and fortune, but also mismanagement, bankruptcy, family crisis and dislocation.Told with characteristic warmth, honesty and humour, Hayley takes us back in time to a bygone era, charting a journey from her carefree childhood innocence in post-war Britain, growing up in the shadow of her famous theatrical family, to being propelled into the Technicolor boomtown of 1960s Hollywood, where she is mentored to s

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Book SynopsisThis book helps us evaluate more critically the narratives we tell ourselves about exhaustion. By uniting the mind with the body and society , we attach larger questions of agency, willpower, and well-being to its symptoms. Exhaustion finds in our struggle to overcome weariness a more significant effort to master ourselves.Trade ReviewExhaustion is fluently written and brilliantly argued, and it will provoke thoughtful minds with the suggestion that exhaustion has a history. -- Edward Shorter, author of How Everyone Became Depressed: The Rise and Fall of the Nervous Breakdown Exhaustion is an impressive, accomplished, and original book, one that promises to command a wide cross-disciplinary readership. A formidable amount of reading and research has gone into this work, which stretches from classical antiquity to the present day, yet Anna Katharina Schaffner marshals her material confidently and carries her learning lightly. Her book is a pleasure to read. -- Michael Greaney, author of Conrad, Language, and Narrative Schaffner's imaginative and ambitious work offers rich materials with which to think about exhaustion. -- Thomas Dixon Times Literary Supplement When Exhaustion does bring theory and experience together, it becomes engrossing-which makes it all the more regrettable that for so many centuries, our exhausted ancestors remained silent. -- Hanna Rosefield New Republic A fascinating study of the ways in which doctors and philosophers have understood the limits of the human mind, body - and energy.BBC Futures -- David Robson BBC Futures A timely contribution to a neglected field of study. BMJ Medical Humanities BlogTable of ContentsAcknowledgments Introduction 1. Humors 2. Sin 3. Saturn 4. Sexuality 5. Nerves 6. Capitalism 7. Rest 8. The Death Drive 9. Depression 10. Mystery Viruses 11. Burnout Epilogue: The Future Notes Bibliography Index

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Book SynopsisThomas Berry (1914–2009) was one of the twentieth century’s most prescient and profound thinkers. The first biography of Berry, this book illuminates his remarkable vision and its continuing relevance for achieving transformative social change and environmental renewal.Trade ReviewA warm celebration of an environmentalist whose ideas are increasingly relevant. * Kirkus Reviews *A truly magisterial work and magnificent book. -- Ursula King * Times Higher Education *I urge you to pick up this book and read it cover to cover. -- Thomas Crowe * Smoky Mountain News *Thomas Berry: A Biography is essential reading. -- J. Milburn Thompson * Today's American Catholic *Senior authored by two of his graduate students, the volume thoroughly documents Berry’s sources, experiences, and philosophical positions. -- Susan P. Bratton, Environmental Science, Baylor University, Waco, Texas * Quarterly Review of Biology *A tour de force biography: Thomas Berry was one of the most important thinkers on humanity and our trajectory on this wondrous living planet—and indeed in the journey of the universe. This is a book written with love and clarity that belongs on everyone’s required reading list. Read it and you will understand one of the most inspiring persons of our time—and it will change how you think about the future. -- Thomas E. Lovejoy, University Professor, George Mason UniversityThis is a book one has waited impatiently for: some of our finest environmental historians of religion telling the epic intellectual and human story of Thomas Berry. Most biographies illuminate the past, but this one helps chart the course for our future. -- Bill McKibben, author of Falter: Has the Human Game Begun to Play Itself Out?To a bewildered world, Thomas Berry offers a moral compass. To a fragmented world, he offers the convergence of scientific and spiritual worldviews in a new story of the evolutionary unity of humans and the cosmos. For a despairing world, he offers meaning and hope in lives of Great Work. For a suffering world, he offers a new jurisprudence of Earth rights. As Thomas Berry was a brilliant, erudite, joyous person who changed the world, so this biography is a brilliant, erudite, joyous book that will change your life. -- Kathleen Dean Moore, author of Great Tide Rising: Towards Clarity and Moral Courage in a Time of Planetary ChangeIn this new biography of Thomas Berry, the authors provide a rich, comprehensive narrative of one of the great thinkers of the twentieth century . . . This is an important book at a time when climate change remains politically divisive and global warming continues unabated. -- Ilia Delio, OSF, Villanova University * American Catholic Studies *To read this magnificent biography is to encounter the evolution of greatness, for Thomas Berry was truly one of the remarkable people of the twentieth century. The distinguished authors chronicle his early life to his study of the world’s religions, to the tragedy of ecological loss and the story of the unfolding universe. This is followed by a series of fascinating essays probing Berry's large intellectual legacy. Throughout, Berry's decency and humanity, as well as his courage, are vividly displayed. I found this book to be a joy and an inspiration. -- James Gustave Speth, cofounder of the Natural Resources Defense Council and former administrator of the United Nations Development ProgrammeIn my first meeting with Thomas Berry, I sensed a depth of wisdom that was comprehensive and unique. This initial intuition only deepened as we worked together over decades. There is no better pathway into his vision than this profound biography. -- Brian Thomas Swimme, coauthor, with Thomas Berry, of The Universe Story: From the Primordial Flaring Forth to the Ecozoic Era—A Celebration of the Unfolding of the CosmosThis book gives tribute to an important thinker who influenced and shaped the fields of cross-cultural studies, religion, and ecology in the twentieth century. The intellectual endeavor of Thomas Berry articulates the failings of the Eurocentric nation-state model and urges listening to the unintended consequences of human hegemony over the natural order of the world. -- Christopher Key Chapple, Doshi Professor of Indic and Comparative Theology, Loyola Marymount UniversityEvery now and again a book comes along that I simply can't put down and one that I've just read through and through is titled Thomas Berry: A Biography. -- Marc Bekoff Ph.D. * Psychology Today Animal Emotions Blog *This biography beautifully shows us the unfolding life of a great religious, philosophical and ecological teacher, one who was also - as I know from direct experience - immensely kind, humorous and generous. * Paradigm Explorer *Table of ContentsAcknowledgmentsIntroduction: Thomas Berry and the Arc of History1. An Independent Youth2. The Call to Contemplation3. Studying History and Living History4. The Struggle to Teach5. From Human History to Earth History6. From New Story to Universe Story7. Evoking the Great Work8. Coming HomeInterlude: The Arc of a Life9. Narratives of Time10. Teilhard and the Zest for Life11. Confucian Integration of Cosmos, Earth, and Humans12. Indigenous Traditions of the Giving EarthEpilogueAppendix: Thomas Berry Timeline, 1914–2009NotesBibliographyIndex

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Book SynopsisDrawing on archival sources, this is the first book to explore Thalberg's insights into casting, editing, story composition and the importance of the mass audience from a theoretical perspective.

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Book SynopsisGo beyond After Earth with this unique, in-universe journey into the world of the United Ranger Corps. From the history of the Rangers, to humanity''s exodus from Earth, and the ongoing battle against the Skrel, a fearsome alien race, the United Ranger Corps Survival Manual immerses you in the After Earth universe. Study the secrets of ghosting—the art of singlehandedly slaying the vicious Ursa—and complete your mastery of the cutlass, a Ranger''s greatest weapon, as you discover what it takes to be one of Nova Prime''s elite. Filled with interactive elements, including a schematic of the Ranger base, a complete guide to the highly evolved animals of Earth, and even a handwritten journal entry from Cypher Raige, the United Ranger Corps Survival Manual is the essential companion to the After Earth film.

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Book SynopsisAlice Faye's sweet demeanor, sultry glances, and velvety voice were her signatures. Her haunting rendition of ""You'll Never Know"" has never been surpassed by any other singer. Fans adored her in such films as Alexander's Ragtime Band, Rose of Washington Square, Tin Pan Alley, and Hello, Frisco, Hello.In the 1930s and 1940s she reigned as queen of Twentieth Century-Fox musicals. She co-starred with such legends as Shirley Temple, Tyrone Power, Carmen Miranda, and Don Ameche and was voted the number-one box-office attraction of 1940, placing ahead of Bette Davis and Myrna Loy. To a select cult of admirers, she remains a beloved star. In 1945 at the pinnacle of her career she chose to walk out on her Fox contract. This remarkable episode is unlike any other in the heyday of the big-studio system. Her daring departure from films left Fox mogul Darryl F. Zanuck and the rest of the movie industry flabbergasted. For years she had skirmished with him over her roles, her health, and her private life.After leaving Fox, Faye (1915-1998) devoted herself to her marriage to radio star Phil Harris, to motherhood, and to a second career on radio in the Phil Harris-Alice Faye Show, broadcast for eight years. She happily gave up films in favor of the independence and self-esteem that she discovered in private life. She willingly freed herself of the ""star-treatment"" that debilitated so many of her contemporaries. In the 1980s she emerged as a spokeswoman for Pfizer Pharmaceuticals, touring America to encourage senior citizens to make their lives more meaningful and vital.This book captures the special essence of Alice Faye, her work in film, radio, and popular music, and indeed her graceful survival beyond the silver screen.

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Book SynopsisTrade Review“Spirited and revealing. . . . An astute psychological profile of the man whose biting, nihilistic comedy broke so many barriers.”—John McMurtrie, San Francisco Chronicle"Trenchant and provocative."—Dennis Drabelle, Washington Post"There is no doubt that the author loves the 13 films the brothers made together, but his fascination lies with those moments when they go too far, toppling toward Samuel Beckett's 'mirthless laugh,' which laughs 'at that which is unhappy.' . . . [The book] is full of sensitive observations about Harpo's musical vocation and Groucho's uncanny greasepaint, details to propel readers back to the films. . . . You suspect Marx, frustrated doctor and unlikely pen pal of T.S. Eliot, would have appreciated being taken so seriously."—Victoria Segal, Sunday Times"A luminous delight. . . . A true page-turner and a lot of fun. [Siegel] applies his own philosophical acuity to the personal and socio-political aspects of Groucho’s life."—Shon Arieh-Lerer, Slate"A scholarly milestone in the history of professional writing on Groucho Marx."—Cineaste“Was [Groucho] serious or funny? Where did the persona stop and the real Groucho begin? Lee Seigel wrestles with these questions in his provocative and short critical biography of the man he calls the Marx Brothers’s 'central intelligence.'”—Karl Whitney, The Guardian"Delightfully perverse." —New York Times Book Review"A contentious but always stimulating addition to the surprisingly small library of Marx Bros studies."—Jewish Chronicle"As Lee Siegel’s Groucho Marx: The Comedy of Existence, a book in Yale University Press’s Jewish Lives series, makes plain, Groucho was a man who could find a cloud in every silver lining."—Jewish Review of Books“[A] forensic and well-informed analysis of the brother’s comedy through their lives . . . Siegel is good at building on finds from his extensive sources to create vivid pictures—and plausible assumptions. . . . There are plenty of unusual insights."—Jewish Renaissance“A beautiful, brilliant, and persuasive reading of Marx as crypto-nihilist. A necessary and pulse-quickening work (utterly bereft of jargon or self-seriousness), linking Aristophanes to Kafka to Beckett to Groucho to Woody Allen to Amy Schumer.”—David Shields, author of Reality Hunger“Lee Siegel’s brilliant analysis of the glorious, scary, beyond-funny humor of Groucho and his brothers made me feel as if I were watching their movies for the first time. In this hugely enjoyable and stimulating book, Siegel shows how Groucho became an impossibility: an immortal comedian.”—Ian Frazier, author of Great Plains and On the Rez

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Book Synopsis''A wickedly entertaining new memoir'' Daily MailAccording to the Daily Mail Ian Ogilvy was ''the undisputed star of 1970s TV as the dashing Simon Templar in Return Of The Saint''. The show turned him into a household name, causing him to be touted as the next James Bond. From a liberal upbringing in post-war Britain, boarding school escapades and life at RADA, Ogilvy enjoyed an acting career spanning more than fifty years, including TV show Upstairs, Downstairs and films Witchfinder General, No Sex Please: We''re British and Death Becomes Her. His story plays host to a spectacular all-star cast including Boris Karloff, Hayley Mills, Penelope Keith, Derek Nimmo, Timothy Dalton, Derek Jacobi and Meryl Streep, and Ogilvy gives a vivid account from behind the scenes of the Golden Age of television and film.Once a Saint is an amusing and unvarnished story: a tremendously endearing tale from a working actor. Trade ReviewA riotously funny account of becoming a teenage lady-killer ... wickedly entertaining new memoir * Daily Mail *Very funny and very good ... [Ogilvy's] style is effortless and his modesty uncontrived -- Simon Williams, Sunday TelegraphA tour de force -- Andrew Collins, Mail on SundayA funny, gossipy, camp-as-Christmas memoir ... as droll an autobiography as you could wish for - full of fantastic stories you might very nearly believe -- Markus Berkmann

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Book SynopsisNick Rees-Roberts is Senior Lecturer in Film, Department of French, University of Bristol, UK. Darren Waldron is Senior Lecturer in French Screen Studies, University of Manchester, UK.Trade ReviewIn ten essays from a respected pool of academic writers, [this] book teases out what made Delon such a success ... [A]n interesting read. * Media Education Journal *The book increases significantly the available scholarship on Delon ... and offer[s] unusual and stimulating premises ... which in the long run will prove to be useful take-off points for scholars wishing to further engage with the figure of Delon. * Celebrity Studies *Highly engrossing … The use of a wide range of cultural, geographical, and theoretical lenses is not only revolutionary for Delon scholarship, but also has broader implications for star studies and English-language publications on non-Anglo-American stars, further underscoring the importance of this collection’s fascinating exploration of Delon’s style, stardom, and masculinity. * Studies in European Cinema *[This collection] manages to cover the broad range of Delon’s career and persona in ways that are profoundly illuminating. There are excellent studies of his narcissism, his international profile and its relationship to French culture, his impact on fashion culture, his move into production and directing ... and two fascinating chapters on Delon dubbed in his Italian films, and Delon as singer. * French Studies *A bracing and wide-ranging set of essays on a vital French and international star celebrity. As these expert respondents consider Delon's career -- embodying culture, commerce and history -- they offer a richer understanding not only of this particular icon, but also the possibilities for star studies in general. * Tim Palmer, Professor of Film Studies, University of North Carolina Wilmington, USA, and author of Brutal Intimacy: Analyzing Contemporary French Cinema (2011) and Irreversible (2015) *At last, the best-looking, most charismatic French actor of the post-war period gets the sustained attention he deserves. In Alain Delon, Style, Stardom and Masculinity, Nick Rees-Roberts and Darren Waldron have gathered a splendid collection of texts that illuminate the star in his multifarious dimensions: his roles and career choices, performance, looks, voice, fashion sense and sexual attractiveness. Drawing on insights from a range of international scholars, the book also importantly examines and celebrates his presence not just in famous classics such as Rocco and his Brothers, The Leopard and Mr Klein, but also in popular French cinema, especially the thrillers of Henri Verneuil, Jacques Deray and Jean-Pierre Melville, of which he was a pillar for decades. Fans and students alike will relish a book that explains and documents the enduring appeal of one of the great stars of French and world cinema. * Ginette Vincendeau, Professor of Film Studies, King’s College London, UK *Table of ContentsIntroduction: Alain Delon, Then and Now Nick Rees-Roberts, University of Bristol, UK, and Darren Waldron, University of Manchester, UK On the Limits of Narcissism: Alain Delon, Masculinity and the Delusion of Agency Darren Waldron, University of Manchester, UK Delon and Performance: Emploi and the Interaction between Individual, Role and Character Laurent Jullier, Université Paris Sorbonne Nouvelle, France, and Jean-Marc Leveratto, Université de Lorraine, France France’s 'New Don Juan': The Representation of Delon’s Youth Gwénaëlle Le Gras, Université Bordeaux Montaigne, France Dubbing Delon: Voice, Body and National Stardom in Rocco and his Brothers Catherine O’Rawe, University of Bristol, UK Delon/Gabin/Verneuil: Modernity within Tradition Leila Wimmer, London Metropolitan University, UK Alain Delon, International Man of Mystery Mark Gallagher, University of Nottingham, UK The Star’s Script: Delon as Director, Producer and Screenwriter Isabelle Vanderschelden, Manchester Metropolitan University, UK The Singing Actor: Delon on Record Barbara Lebrun, University of Manchester, UK Dressed to Kill: Delon as Style Icon Nick Rees-Roberts, University of Bristol, UK Toujours Delon: The Script of Ageing Sue Harris, Queen Mary University of London, UK

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Book SynopsisA wonderful checklist of the 100 best underappreciated and overlooked films from the last 100 years.

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Book SynopsisThe 1940 film adaptation of Daphne du Maurier’s gothic romance Rebecca begins by echoing the novel’s famous opening line, ‘Last night I dreamt I went to Manderley again.’ Patricia White takes the theme of return as her starting point for an exploration of the film’s enduring power. Drawing on archival research, she shows how the production and reception history of Rebecca, the first fruit of the collaboration between Hollywood movie producer David O. Selznick and British director Alfred Hitchcock, is marked by the traces of women’s contributions. White provides a rich analysis of the film, addressing the gap between perception and reality that is constantly in play in the gothic romance, and highlighting the queer erotics circulating around ‘I’ (the heroine), Mrs Danvers, and the dead but ever-present Rebecca. Her discussion of the film’s afterlives emphasizes the lasting aesthetic impact of this dark masterpiece of memory and desire, while her attention to its remakes and sequels speaks to the ongoing relevance of its vision of gender and power.Trade ReviewWhite pays ample and poetic attention to the film’s aesthetic dimensions, beautifully highlighting both Hitchcock’s style and cinematic experience ... White’s marvelously observed, meticulous monograph offers fitting tribute. * Hitchcock Annually *This in-depth look at… [the] celebrated 1940 film adaptation of Daphne du Maurier’s gothic romance draws on archival research to consider themes of returning and appearance and reality. * Choice *Patricia White’s study of the 1940 goth romance turns a salutary spotlight on the women who steered it to the screen. Ben Wheatley’s re-do gets a nod, but there’s a more fruitful comparison with Paul Thomas Anderson’s Phantom Thread. * Total Film *[Patricia White has found] an autonomous and brilliant path in the wide range of readings of the film that have accumulated over the years, managing to provide an original contribution and to open up further interpretative possibilities. (Bloomsbury Translation) * Imago: Studi di cinema e media (Bloomsbury Translation) *In Rebecca, Patricia White lends her voice to the women—among them, Daphne du Maurier, Irene Selznick, Joan Harrison, and Alma Reville, as well the film’s critics—who have contributed extensively to the making and understanding of Hitchcock’s classic film. In a sense White brilliantly stages yet one more return of the dead woman, Rebecca, who haunts the unnamed heroine and so many fans of the novel and the film, and in lucid and compelling prose testifies to the undying appeal of the ghostly character and her magnificent maleficence. * Tania Modleski, University of Southern California, USA *Table of Contents1. Introduction 2. Production and release history 3. 'Rebecca' the novel 4. 'Rebecca' the film 5. Reception and film criticism 6. The afterlives of 'Rebecca'

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Book SynopsisBoth a fascinating account of Walt Disney's own significant artistic creations, from the iconic Mickey Mouse to the groundbreaking Snow White in 1937, and an insightful history of the hugely successful entertainment behemoth he created, from Dumbo to Pixar's Toy Story, as well as the hugely popular theme parks. But Disney's dark side is also explored: his disputed parentage; industrial disputes; his work for the FBI; and his anti-Communist and allegedly racist and antisemitic views.The company Disney built is today stronger than ever, encompassing not only the ongoing legacy of Disney animation, but also acting as the guardian of other well-loved creative endeavours, such as Pixar, The Muppets, Marvel Comics and now Star Wars.Sections include Before Mickey: The Road to the Mouse House', covering from 1901 to 1945 the creation of Mickey Mouse, the creation of the world's first full-length animated feature film, the Golden Age of animation and Disney's help for the A

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Book SynopsisIn this witty and wise guide to the dilemmas of entrepreneurship, Rizwan Virk debunks misconceptions about how the world of startups works and offers hard-earned advice for every step of the journey. Startup Myths and Models is an ideal companion for readers from those just embarking on the startup life to those looking for their next adventure.Trade ReviewIn this lively read, Riz Virk scrutinizes popular startup myths and provides crystal-clear startup models to guide entrepreneurs on their journey. Fortify yourself on this book’s rich experience and insights before you set out. -- Randy Komisar, partner, Kleiner Perkins Caufield & Byers, author of The Monk and the Riddle and Straight Talk for StartupsRiz Virk has been a founder, advisor and investor in startups for twenty-five years; Startup Myths and Models condenses those years of experience into a set of coherent lessons about the real challenges entrepreneurs face and how to overcome them. If you are going on the entrepreneur's journey, this book is a great companion for every stage of the adventure! -- Brad Feld, cofounder of Foundry Group and author of #GiveFirst and Venture DealsWhen launching a new business, there's no one I'd rather have at my side than Riz Virk as a cofounder or adviser. Having Riz's book, Startup Myths and Models, is the next-best thing. Equip yourself to win the battles that you'll encounter in your startup adventure by reading and digesting the lessons in this book. 100% results, no fluff! -- Mitchell Liu, cofounder of SLIVER.tv, Theta Labs, Gameview, and TapjoyIn Startup Myths, Riz Virk debunks common misconceptions about life in Startup Land. Both funny and wise, this book is a worthwhile read for any entrepreneur. -- Jeffrey Bussgang, Harvard Business School, general partner at Flybridge Capital Partners, and author of Mastering the VC GameI’ve founded five companies, made angel investments in over 100, and served on numerous startup boards—I wish I'd had a book like this before I started! Packed with hard-earned wisdom, Riz Virk does a great job of debunking myths and over-simple rules of thumb in the startup universe. -- Michael Dornbrook, COO of Harmonix (makers of Guitar Hero), member of Common Angels, and VP of marketing at InfoCom (makers of Zork)Startup Myths and Models is one of the best textbooks for founders who are going through accelerators, (and, of course for those that aren't). Riz Virk reveals secrets about starting, funding, growing, and selling your startup all while doing what's most important - staying sane and healthy. This is one of my go-to recommendations for any founder beginning or currently on the startup journey. -- Pat Riley, CEO of GAN (Global Accelerator Network)Riz Virk was one of my inspirations to be an entrepreneur. My advice to would-be entrepreneurs is to read Riz's book Startup Myths and Models, because it contains wisdom drawn from his twenty-five years of startup battles. -- Rajeev Surati, cofounder of Flash Communications (sold to Microsoft) and Photo.netWhether you're a curious student or a serial entrepreneur, Startup Myths and Models is on my recommended reading list for any startup founder. Riz's use of the Hero's Journey will help you understand how answering the call to the startup adventure will forever change you for the better! -- Tim Miano, associate director, Harvard Innovation Labs, and cofounder/CEO, SP@CEStartup Myths and Models cuts through all the startup noise, bringing real world experience to every entrepreneur in a super easy to access reference book. -- Will Herman, coauthor of The Startup Playbook, angel investor, founder of 5 startups (2 IPOs)This cogent, far-thinking explanation of how start-ups work will be invaluable for any aspiring founders stymied by traditional business wisdom. * Publisher’s Weekly *There are practical do's and don'ts, and a nuanced discussion of how to tell if a truism is going to help or hurt your particular situation. This is the kind of expertise most founders don't have direct access to, and there are plenty of useful nuggets here. * ZDNet *Table of ContentsIntroductionStage 1: The Call to Adventure: Myths About Starting a CompanyMyth #1: Build a Billion-Dollar CompanyMyth #2: Founders Start Companies to Make a Lot of MoneyMyth #3: You Have to Be First to MarketBonus Myth #B-1: Start Something You Are Passionate AboutStage 2: Fuel for the Journey: Myths About Raising MoneyMyth #4: A Great Product and a Big Market Are the Most Important ThingsMyth #5: Two Guys and a Business Are Better Than Two Guys and a PlanMyth #6: Talk to as Many Investors as You CanMyth #7: Take the Highest Valuation You Can GetBonus Myth #B-2: Raise as Little (as Much) Money as PossibleStage 3: Travel Companions: Myths About Hiring and ManagementMyth #8: Hire the Most Experienced People You Can FindMyth #9: Get Out of the Way and Let People Do Their Jobs, or I Can Do It Faster Myself!Myth #10: Better Management Causes Faster GrowthBonus Myth #B-3: If I own X%, Then My Stock Is worth $x!Stage 4: The Road of Trials: Myths About Going to MarketMyth #11: Focus, Focus, FocusMyth #12: My Product Failed Because My Sales Guy SucksMyth #13: If Only We Could Spend More on Marketing!Myth #14: Fail Fast, Pivot QuicklyBonus Myth #B-4: There Is No Such Thing as Bad PublicityStage 5: Acquiring the Treasure: Myths About Exiting Your CompanyMyth #15: At This Rate, My Startup Will Be Worth Twice as Much Tomorrow!Myth #16: They’re Buying Us Because Our Product is Awesome!Myth #17: The Best Way to Cash Out Is to Sell or Go PublicBonus Myth #B-5: Upfront Cash Is Better than Stock or an EarnoutStage 6: The Underworld and the Return: Myths About Life and Death in a StartupMyth #18: Startups Are Hard WorkMyth #19: Whew, I’m Glad That’s Over! No More Startups for Me!Bonus Myth #B-6: If My Startup Fails, My Life Is Over!Bonus MythsAppendix A: The Startup Market Lifecycle and CurvesAppendix B: Meet Our Cast of Characters and StartupsAcknowledgmentsAbout the AuthorIndex

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