This remarkable journey through the Hammer vault includes props, annotated script pages, unused poster artwork, production designs, rare promotional material and private correspondence. Hundreds of rare and previously unseen stills help to create a rich souvenir of Hammer's legacy, from the X certificate classics of the 1950s to the studio's latest productions. This new updated edition includes an extra chapter covering the years 2010.

The makers of Brainstorm (1983) spent more than a decade transferring the revolutionary concept of an "empathy machine" from page to screen, only for the famously troubled production to be met with critical and commercial indifference on release. But since 1984 the film has continued to inspire viewers to imagine possibilities for the future. As a result, Brainstorm now seems less like a fixed piece of film history than an idea in evolution. The screen story embodies the ambitions of sci-fi cinema going back to the 1950s, as well as the turbulent culture of the western world in the 1960s and 1970s. It also foreshadows technological breakthroughs around the turn of the twenty-first century, making the film startlingly relevant to our digitally-enhanced information age. To fully appreciate the film's "ultimate experience," it helps to understand exactly how the film evolved. This book aims to provide context for such an understanding, beginning with a brief history of science fiction cinema and setting up a careful consideration of multiple drafts of the Brainstorm screenplay by three different screenwriters: Bruce Joel Rubin, Philip F. Messina, and Robert Stitzel. It will also briefly examine the production history of the film (including the tragic death of star Natalie Wood), the career of the director and special effects wizard Douglas Trumbull, the particulars of the completed film, and the film's influence on future storytellers like James Cameron.

"Mrs. Robinson, you're trying to seduce me. Aren't you?" These famous lines from The Graduate (1967) would forever link Anne Bancroft (1931-2005) to the groundbreaking film and confirm her status as a movie icon. Along with her portrayal of Annie Sullivan in the stage and film drama The Miracle Worker, this role was a highlight of a career that spanned a half-century and brought Bancroft an Oscar, two Tonys, and two Emmy awards. In the first biography to cover the entire scope of Bancroft's life and career, Douglass K. Daniel brings together interviews with dozens of her friends and colleagues, never-before-published family photos, and material from film and theater archives to present a portrait of an artist who raised the standards of acting for all those who followed. Daniel reveals how, from a young age, Bancroft was committed to challenging herself and strengthening her craft. Her talent (and good timing) led to a breakthrough role in Two for the Seesaw, which made her a Broadway star overnight. The role of Helen Keller's devoted teacher in the stage version of The Miracle Worker would follow, and Bancroft also starred in the movie adaption of the play, which earned her an Academy Award. She went on to appear in dozens of film, theater, and television productions, including several movies directed or produced by her husband, Mel Brooks. Anne Bancroft: A Life offers new insights into the life and career of a determined actress who left an indelible mark on the film industry while remaining true to her art.

This book focuses on the philosophy of Chinese martial arts film, arguing that philosophy provides a key to understanding the whole genre. It draws on Chinese philosophical ideas derived from, or based on, Confucianism, Daoism, Buddhism, and other schools of thought such as Mohism and Legalism, examines a cluster of recent Chinese martial arts films centering on the figure of the xia-the heroic protagonist, the Chinese equivalent of medieval Europe's knight-errant-and outlines the philosophical principles and themes undergirding the actions of xia and their narratives. Overall, the author argues that the genre, apart from being an action-oriented entertainment medium, is inherently moral and ethical.

The first book to be published on the film. In depth examination of how transnationalism has changed the language of political cinema in Latin America. Perfect for students, researchers or interested laypersons

Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia's life, art, and approach to filmmaking. Jia and Berry's conversations range from Jia's childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director's candid thoughts on the art and challenges of filmmaking.

Reconsidering the German tendency to define itself vis-a-vis an eastern "Other" in light of fresh debate regarding the Second World War, this volume and the cultural products it considers expose and question Germany's relationship with its imagined East. Germany has long defined itself in opposition to its eastern neighbors: its ideas around cultural prestige and its expressions of xenophobia seem inevitably to return to an imagined eastern "Other." Central to the consideration of such projections is the legacy of the Second World War, the subject of fresh debate since 1989: after four decades of political antagonism and cultural disjuncture, the events of the war on the Eastern Front have been rediscovered by Western audiences and have come to occupy complex, shifting positions in the memory culture of the postsocialist states. However, German ignorance of Eastern European experiences of war and genocide, enduring stereotypes, and prescriptive ideas about remembrance have been major stumbling blocks to the emergence of a transnational memory culture considered just by all parties. Despite mass immigration to Germany from the east and intensive contact between German speakers and its cultures, German-language cultural production continues largely to represent Eastern Europe as unknown, wild, and inaccessible. By contrast, the writers and filmmakers under discussion in the present volume have worked with and against such tropes to put forward alternative perspectives. Like their works, the contributions to this volume place the conflicts and prejudices of the twentieth century into a wider historical perspective, exposing and questioning the nature of Germany's relationship with its imagined East. Contributors: Deirdre Byrnes, Raluca Cernahoschi, Shivani Chauhan, Eniko Dacz, Olha Flachs, Daniel Harvey, Jakub Kazecki, Amy Leech, Paul Peters, Ernest Schonfield, Karolina Watroba.

This book combines film studies with urban theory in a spatial exploration of twentieth century Los Angeles. Configured through the dark lens of noir, the author examines an alternate urban history of Los Angeles forged by the fictional modes of detective fiction, film noir and neo noir. Dark portrayals of the city are analyzed in Raymond Chandler's crime fiction through to key films like Double Indemnity (1944) and The End of Violence (1997). By employing these fictional elements as the basis for historicising the city's unrivalled urban form, the analysis demonstrates an innovative approach to urban historiography. Revealing some of the earliest tendencies of postmodern expression in Hollywood cinema, this book will be of great relevance to students and researchers working in the fields of film, literature, cultural and urban studies. It will also be of interest to scholars researching histories of Los Angeles and the American noir imagination.

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock.

Between 1960 and 1964, the legendary Roger Corman created eight motion pictures that have become known as the "Poe Cycle", elevating the careers of both himself and Vincent Price to cult status around the world. Nearly half a century later these films are staples in most DVD collections of anyone who admires the cinema of the Fantastic. This is the long-awaited book that details and analyses these highly important films. This book has been 30 years in the making! Nevermore will include: Hundreds of rare images never seen before from each film; Commentaries from Vincent Price and Roger Corman; Special observations by Barbara Steele, Elizabeth Shepherd, Joyce Jameson and Hazel Court as the leading ladies of the series; Exclusive interviews with the actors and artisans that made the Poe films; Rare poster art from around the world; Extra material on the Poe films made after Corman with exclusive interviews with Gordon Hessler and Samuel Z Arkoff. Archivist and film historian David Del Valle in collaboration with Professor Sam Umland have fashioned a film-by-film analysis of Roger Corman's Poe films including the Poe-inspired films made after Corman left AIP to pursue other projects. The unique combination of Professor Umland's insights into the literary landscape of Poe in concert with Mr Del Valle's twenty five years of research interviewing all the participants in the Poe series now culminates here. This is the "dream within a dream" for aficionados of these films which have never left the imagination of the generation that grew up watching them.

Few filmmakers, if any, make the kind of impact that Martin Scorsese has made on American cinema. The winner of every prestigious film award, including the Oscar, Scorsese is a living legend. Bestselling author and award-winning filmmaker Mary Pat Kelly's groundbreaking biography reveals how this working-class boy from Manhattan's Little Italy became one of our most acclaimed, celebrated, and influential filmmakers. Martin Scorsese: A Journey maps Scorsese's personal and artistic evolution though his films, from early works like student films and Mean Streets through cinematic masterpieces like Taxi Driver, Raging Bull, The King of Comedy, Goodfellas. Across interviews with Scorsese himself; stars like Robert De Niro, Paul Newman, Liza Minelli, and Nick Nolte; colleagues including screenwriters and cinematographers; as well as family and friends, it reveals the story of a man in a way that only his community and fellow artists can, giving us unprecedented, intimate access to the making of these iconic films and the extraordinary mind behind them. Brimming with insight into Scorsese's life, values, process, humor, and inspirations, it is a remarkable account of America's premiere director, the shepherd of countless imaginations.

"Eye-opening and addictively readable." Total Film Who and what decides if a film gets funded? How do those who control the purse strings also determine a film's content and even its message? Writing as the director of award-winning feature films including Welcome to Sarajevo, 24 Hour Party People and The Road to Guantanamo as well as the hugely popular The Trip series, Michael Winterbottom provides an insider's view of the workings of international film funding and distribution, revealing how the studios that fund film production and control distribution networks also work against a sustainable independent film culture and limit innovation in filmmaking style and content. In addition to reflecting upon his own filmmaking career, featuring critical and commercial successes alongside a 'very long list' of films that didn't get made, Winterbottom also interviews leading contemporary filmmakers including Lynne Ramsay, Mike Leigh, Ken Loach, Asif Kapadia and Joanna Hogg about their filmmaking practice. The book closes with a vision of how the contemporary filmmaking landscape could be reformed for the better with fairer funding and payment practices allowing for a more innovative and sustainable 21st century industry.

Federico Fellini's masterpiece 8 1/2 (Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Fassbinder, Truffaut, Scorsese, Bob Fosse and Bruce LaBruce, paid homage to the film and its themes of personal and creative ennui in their own work. Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities.

This volume is the first to address the culture of the German Democratic Republic (GDR) as a historical entity, but also to trace the afterlife of East Germany in the decades since the fall of the Berlin Wall. An international team of outstanding scholars offers essential and thought-provoking essays, combining a chronological and genre-based overview from the beginning of the GDR in 1949 to the unification in 1990 and beyond, with in-depth analysis of individual works. A final chapter traces the resonance of the GDR in the years since its demise and analyses the fascination it engenders. The volume provides a 'rereading' of East Germany and its legacy as a cultural phenomenon free from the prejudices that prevailed while it existed, offering English translations throughout, a guide to further reading and a chronology.

Will appeal to scholars across both film studies and psychoanalysis Uses a range of contemporary films to illustrate Combines socio-political commentary and psychological insight

Reviled on its release, Peeping Tom (1960) all-but ended the career of director Michael Powell, previously one of Britain's most revered filmmakers. The story of a murderous cameraman and his compulsion to record his killings, Powell's film stunned the same critics who had acclaimed him for the work he'd made with writer-producer Emeric Pressburger (The Life and Death of Colonel Blimp, 1943; A Matter of Life and Death, 1946), resulting in the film falling out of circulation almost as soon as it was released. It took the 1970s 'Movie Brat' generation to rehabilitate the director, and the film, which is now regarded as a masterpiece. In this Devil's Advocate, published to coincide with the film's 60th anniversary, Kiri Walden charts the origins, production and devastating critical reception of Peeping Tom, comparing it to the treatment meted out to its contemporary horror classic, Alfred Hitchcock's Psycho (1960).

Based on the Turner Classic Movies series, TCM Underground is the movie-lover's guide to 50 of the most campy, kitschy, shocking, and weirdly wonderful cult films you need to see.In the pages of this book, you'll explore this unique order of films-primarily from the 1960s, '70s, and '80s-with insightful reviews, behind-the-scenes stories, subgenre sidebars, and full-color and black-and-white photography throughout. Go along for the ride with new takes on crime films, including The Honeymoon Killers and The Harder They Come. Witness one-of-a-kind horror in Bill Gunn's landmark vampire film Ganja and Hess and Nobuhiko Obayashi's infamous and indescribable Hausu. Absorb the boundary-pushing documentary-style trilogy The Decline of Western Civilization, which throws you into indelible moments in the punk and metal music scenes. And marvel at pure '80s oddities like Mac and Me and The Garbage Pail Kids.From Possession to Polyester and Beyond the Valley of the Dolls to Xanadu, no two films are alike in this compendium. Just sit back and prepare to be surprised, amused, and entertained by this celebration of the stars, filmmakers, and stories behind fifty of the most beguiling and unforgettable movies ever to hit the screen.

This volume examines the significant increase in serial killer narratives in popular television post-9/11, making it a unique contribution to post-9/11 scholarship The authors ask: What is it about serial killers that incited such a boom in these types of narratives in popular television post-9/11? The chapters explore questions such as: What is it about serial killers that makes these characters deeply enlightening representations of the human condition that, although horrifically deviant, reflect complex elements of the human psyche? Why are serial killers intellectually fascinating to audiences? How do these characters so deeply affect us? Shedding new light on a contemporary phenomenon, this book will be a fascinating read for all those at the intersection of television studies, film studies, psychology, popular culture, media studies, philosophy, genre studies and horror studies

This ground-breaking interdisciplinary collection brings together leading international scholars working across the humanities and social sciences to examine ways in which representations of sports coaching in narrative and documentary cinema can shape and inform sporting instruction. The central premise of the volume is that films featuring sports coaches potentially reflect, reinforce or contest how their audiences comprehend the world of coaching. Despite the growing interest in theories of coaching and in the study of the sports film as a genre, specific analyses of filmic depictions of sports coaches are still rare despite coaches often having a central role as figures shaping the values, social situation and cultural expectations of the athletes they train. By way of a series of enlightening and original studies, this volume redresses the relative neglect afforded to sports coaching in film and simultaneously highlights the immense value that research in this emerging field has for sporting performance and social justice. This book was originally published as a special issue of the journal Sports Coaching Review.

On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an "autobiographical" and "honest" account of the director's own experiences in the 1982 Lebanon war. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As Studying Waltz with Bashir will show, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).

From the very first book publication in 1920 to the recent film release of Death on the Nile, this investigation into Agatha Christie's Hercule Poirot celebrates a century of probably the world's favourite fictional detective. This book tells his story decade-by-decade, exploring his appearances not only in the original novels, short stories and plays but also across stage, screen and radio productions. Poirot has had near-permanent presence in the public eye ever since the 1920 publication of The Mysterious Affair at Styles. From character development, publication history and private discussion concerning the original stories themselves, to early forays on to the stage and screen, the story of Poirot is as fascinating as it is enduring. Based on the author's original research, review excerpts and original Agatha Christie correspondence, Poirot: The Greatest Detective in the World is a lively and accessible history of the character, offering new information and helpful pieces of context, that will delight all Agatha Christie fans, from a new generation of readers to those already highly familiar with the canon.

Premiering at the 1981 Cannes Film Festival, Andrzej Zulawski's Possession remains a distinct phenomenon. Though in competition for the illustrious Palme d'Or, its art cinema context did not rescue it from being banned as part of the United Kingdom's 'video nasties' campaign, alongside unashamedly lowbrow titles such as Faces of Death and Zombie Flesh Eaters. Skirting the boundary between art and exploitation, body horror and cerebral reverie, relationship drama and political statement, Possession is a truly astonishing film. Part visceral horror, part surreal experiment, part gothic romance dressed in the iconography of a spy thriller: there is no doubt that the polarity evinced by Possession's initial release was in part a product of its resistance to clear categorisation. With a production history almost as bizarre as the film itself, a cult following gained with its VHS release, and being re-appreciated in the decades since as a valuable work of auteur cinema, the story of how this film came to be is as fascinating as it is unfathomable. Alison Taylor's Devil's Advocate considers Possession's history, stylistic achievement, and legacy as an enduring and unique work of horror cinema. Beginning with a marital breakdown and ending with an apocalypse, the film's strangeness has not dissipated over time; its transgressive imagery, histrionic performances, and spiral staircase logic remain affective and confounding to critics and fans alike. Respecting the film's wilfully enigmatic nature, this book helps to unpack its key threads, including the collision between the banal and the horrific, the socio-historical context of its divided Berlin setting, and the significance of its legacy, particularly with regard to the contemporary trend for extreme art horror on the festival circuit.

Perhaps best known as the snarky narrator and co-founder of the viral YouTube channel CinemaSins, Jeremy Scott cracked the code of turning a passion for film and sarcasm into a full-time job.

Original Sin: From Preacher's Kid to the Creation of CinemaSins is Jeremy's compelling story of family, career, and deep love for movies that launched him into internet stardom. In his trademark, unapologetic voice, Jeremy gives an irreverent and honest take on the wild ride to creating a YouTube sensation. This memoir-with-a-twist sprinkles readers with his personal advice on the combination of dumb luck, know-how, and je-nais-se-quois it takes to be successful on Youtube while hilariously relaying how two friends stumbled into fame.

With anecdotes of laugh-out-loud misadventures and insightful, actionable advice for aspiring YouTubers, Original Sin is the ultimate behind-the-scenes look into the inception of an internet sensation. But more than that, it's one man's love letter to humankind's greatest escape, a pastime that allows us to dream and dwell on beauty, art, and truth. Original Sin is Jeremy Scott's ode to cinema and how often life can imitate the movies.

This book explores the transformative power of comedy to help connect a wider audience to films that explore environmental concerns and issues. This book offers a space in which to explore the complex ways environmental comedies present their eco-arguments. With an organizational structure that reveals the evolution of both eco-comedy films and theoretical approaches, this book project aims to fill a gap in ecocinema scholarship. It does so by exploring three sections arranged to highlight the breadth of eco-comedy: I. Comic Genres and the Green World: Pastoral, Anti-Pastoral, and Post-Pastoral Visions; II. Laughter, Eco-Heroes, and Evolutionary Narratives of Consumption; and III. Environmental Nostalgia, Fuel, and the Carnivalesque. Examining everything from Hollywood classics, Oscar winners, and animation to independent and international films, Murray and Heumann exemplify how the use of comedy can expose and amplify environmental issues to a wider audience than more traditional ecocinema genres and can help provide a path towards positive action and change. Ideal for students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of popular films.

Throughout the making of the Harry Potter movies, designers and craftspeople were tasked with creating fabulous Feasts, flying brooms, enchanted maps, and much more, in addition to all the magical items necessary for everyday wizarding life. Harry Potter: The Artefact Vault chronicles the work at the graphics and prop teams in creating lovingly crafted items; and the stunning inventiveness used to create a rich, filmic universe.