This comprehensive book illuminates the most fertile and exciting period in American film, a time when the studio system was at its peak and movies played a critical role in elevating the spirits of the public. Richard B. Jewell offers a highly readable yet deeply informed account of the economics, technology, censorship, style, genres, stars and history of Hollywood during its "classical" era.
A major introductory textbook covering what is arguably the most fertile and exciting period in film, 1929-1945
Analyzes many of the seminal films from the period, from "The Wizard of Oz" to "Grand Hotel" to "Gone with the Wind," considering the impact they had then and still have today
Tackles the shaping forces of the period: the business practices of the industry, technological developments, censorship restraints, narrative strategies, evolution of genres, and the stars and the star system
Explores the major social, political, economic, and cultural events that helped to shape contemporary commercial cinema, as well as other leisure activities that influenced Hollywood production, including radio, vaudeville, theatre and fiction
Written in a jargon-free, lively style, and features a number of illustrations throughout the text

This is the first and definitive biography of one of the most iconic, complex and enduring legends of Hollywood's golden age, whose major presence in American film, radio, television, stage and theater lasted beyond the second half of the 20th Century, and whose classic films are known throughout the world. Written by New York Times bestselling, prize-winning author Marc Eliot - Cary Grant, Walt Disney, Clint Eastwood, Steve McQueen, Jack Nicholson, and others - with unprecedented access to the family, friends, and Heston's private papers, diaries, journal, writings and estate, he tells an unforgettable tale of an extraordinary life you may find difficult to put down. Eliot's biography is rich with facts details and anecdotal material that bring to life the complex story of this most iconic of American popular cultural giants to illuminate Heston's greatest achievements and his personal failures. He examines how a small boy from the backwoods of Michigan rose to become one of Hollywood's most legendary stars, one of the Greatest Generation's true-life war heroes - he saw action in the Pacific Theater during World War Two, before moving with his young wife from Chicago to New York's Hell's Kitchen to begin their struggle to find success in the theater. Eliot traces Heston's pioneering work in live television, his being discovered by Hollywood because of it, and tells the amazing saga of his three films for Cecil B. DeMille and his two for William Wyler, including The Ten Commandments and Ben-Hur, the latter for which he won a Best-Actor Oscar, with fascinating new details, documents and photographs never before seen. Eliot follows Heston through the genre of Science Fiction, which he helped revive with Planet of the Apes, and sheds new light on every one of Heston's iconic films. He also examines Heston's long political involvements, from boom one of the organizers of Hollywood's faction of marchers who joined with Martin Luther King, Jr. for the March on Washington, to his mentoring under Ronald Reagan for eventual presidency of the Screen Actors Guild, to his late-in-life presidency of, the National Rifle Association, all the while refusing the Republican Party's continual pleas for him to run for president of the United States after Reagan. With unprecedented cooperation with Heston's family, and never-before-seen personal photos, documents and hand-written letters, Charlton Heston: Hollywood's Last Icon for the first time tells the real story of Charlton's Heston's amazing life, an incisive, detailed, compelling portrayal, both for longtime fans, Hollywood movie lovers everywhere and a new college and TCM generation discovering Heston's work for the first time.

Relive the Golden Era of the King of the Cowboys and the Queen of the West In the mid-twentieth century, Roy Rogers and Dale Evans ruled the West from the silver screen as the King of Cowboys and the Queen of the West. Off screen, this husband and wife duo raised a family and lived the "Code of the West." In this biography, named for their first feature film as a pair, the Rogers family shares the inside story of these beloved Western icons.

Neil Archer's original study makes a timely and politically-engaged intervention in debates about national cinema and national identity. Structured around key examples of 'culturally English cinema' in the years up to and following the UK's 2016 vote to leave the European Union, Cinema and Brexit looks to make sense of the peculiarities and paradoxes marking this era of filmmaking. At the same time as providing a contextual and analytical reading of 21st century filmmaking in Britain, Archer raises critical questions about popular national cinema, and how Brexit has cast both light and shadow over this body of films. Central to Archer's argument is the idea that Brexit represents not just a critical moment in how we will understand future film production, but also in how we will understand production of the recent past. Using as a point of departure the London Olympics opening ceremony of 2012, Cinema and Brexit considers the tensions inherent in a wide range of films, including Skyfall (2012), Dunkirk (2017), Their Finest (2017), Darkest Hour (2017), The Crown (Netflix, 2016), Paddington (2014), Paddington 2 (2017), Never Let Me Go (2011), Absolutely Fabulous: The Movie (2016), The Trip (2010), The Inbetweeners Movie (2011), Mr. Bean's Holiday (2007), The World's End (2013), Sightseers (2012), One Day (2011), Attack the Block (2011), King Arthur: Legend of the Sword (2017) and The Kid Who Would be King (2019). Archer examines the complex national narratives and representations these films expound, situating his analyses within the broader commercial contexts of film production beyond Hollywood, highlighting the negotiations or contradictions at play between the industrial imperatives of contemporary films and the varied circumstances in which they are made. Considering some of the ways a popular and globally-minded English cinema is finding means to work alongside and through the contexts of Brexit, he questions what are the stakes for, and possibilities of, a global 'culturally English cinema' in 2019 and beyond.

Film and theory have always gone hand in hand. In many ways, the professional academic study of cinema grew out of the revolutionary surges in literary and cultural theory in Europe. Since the 1970s, film theory has predominantly been a lens through which to wage philosophical and cultural war (in increasingly abstract terms), and cinema was in the right place at the right time. "Toward a New Film Aesthetic" argues that such an approach to film studies ultimately debilitates the study of film.How does film theory connect with an audience that experiences film far beyond the confines of the academy? How can film scholars remain relevant to film culture? These are the fundamental question that film scholars seem to have neglected. Film theory, simply put, has detached itself from meaningful discussions of cinema undertaken with mainstream audiences."Toward a New Film Aesthetic" is a radical attempt to connect the study of film with the actual viewing and consumption practices of mainstream cinematic culture. Isaacs argues that theory has rendered the majority of approaches to film insular, self-reflective, obtuse, and - in its worst incarnation - elitist. He redefines cinema aesthetics in terms of the obsessive consumption of cinematic texts that is the hallmark of contemporary film viewing.

Explore the homeworld and vast dominion of Star Trek's most formidable race, the Klingons, in this thrilling travel guide. nuqneH! Bored of standard vacations to places like Risa or Wrigley's Pleasure Planet? Want to discover a unique and ancient culture not bound by standard niceties and social mores? Then Qo'noS and the vast Klingon Empire are for you! This one-of-a-kind travel guide will give you all the information you need to plan, enjoy, and survive your trip to the very heart of Klingon territory, from an overview of Klingon history to tips on what to wear (fur and leather are very popular) to a glossary of important phrases like "mamI' DaneH'a'? nItebHa' mamI' DaneH'a'?" (Would you like to dance with me?). Every major location in the Klingon Empire is covered in-depth, with tips on where to eat (you've not lived until you've eaten Klingon skull stew), how best to get to and from your chosen destination, and what to do if you find yourself challenged to a bat'leth battle to the death.Locations include the homeworld Qo'noS and its famous locales such as the First City, the Caves of No'mat the Hamar Mountains, and the city of Krennla, plus neighboring moons Corvix and Praxis, and many, many more must-see areas. The book also features exclusive maps and illustrations that bring to life the Klingon Empire and form the perfect reference guide for any visitor. So what are you waiting for? Qapla'!

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art - and in particular literature and film - can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Zizek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology.

Many of our favorite films began as plays--some as well known as Shakespeare's "Romeo and Juliet," and some not so well known as "You've Got Mail"'s origin, a 1937 play "Parfumerie" by Miklos Laszlo. "Video Versions" identifies nearly 300 films and their theatrical origins, providing readers with an overview of the films and highlighting similarities and differences to the source plays. Perfect for teachers, students, and anyone interested in theater and film, it is the most complete resource available for video versions of plays.

Each entry provides: the original play's title, author, and year of publication; the name of the film, year of production, director and adapter; the main cast and the characters they play; running time and rating if available. Following a plot summary, a critical analysis provides the similarities and differences of the play and film, including character and plot changes, setting, missing or added scenes, special film techniques, and behind-the-scenes information such as who turned down or lost particular parts when the play was adapted to film. A short list of sources for further reading follows each entry. Information about contacting distributors--for obtaining the films--is included in the introduction and an extensive index completes the volume.

Writer, producer, and director Wes Craven has successfully tapped into the horror vein for over forty years, serving up scary, funny, cutting-edge thrillers that have become classics in the genre. His films have been both critical and commercial successes, most notably Nightmare on Elm Street, which spawned a series of sequels and made Craven (and his creation, Freddy Kruger) an international sensation. He then created a second indelible series in the horror movie trope with Scream. In Screams & Nightmares, Brian J. Robb examines Craven's entire career, from his low-budget beginnings to his most recent box office hits, from the banned thriller The Last House on the Left and the cult classic The Hills Have Eyes to the outrageous Shocker and The People Under the Stairs. Through exclusive interviews with Craven, Robb provides in-depth accounts of the making of each of the films - including the final instalments of the Scream series - Craven's foray into writing novels, and his numerous television projects.

Parody is the least appreciated of all film comedy genres and receives little serious attention, even among film fans. This study elevates parody to mainstream significance. A historical overview places the genre in context, and a number of basic parody components, which better define the genre and celebrate its value, are examined. Parody is differentiated from satire, and the two parody types, traditional and reaffirmation, are explained. Chapters study the most spoofed genre in American parody history, the Western; pantheon members of American Film Comedy such as The Marx Brothers, W. C. Fields, Mae West, and Laurel and Hardy; pivotal parody artists, Bob Hope and Woody Allen; Mel Brooks, whose name is often synonymous with parody; and finally, parody in the 1990s. Films discussed include Destry Rides Again (1939), The Road to Utopia (1945), My Favorite Brunette (1947), The Paleface (1948), Butch Cassidy and the Sundance Kid (1969), Blazing Saddles (1974), Young Frankenstein (1974), Hot Shots Part Deux (1993) and Scream (1996).

This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre. Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.

BLADE RUNNER AND THE CINEMA OF PHILIP K. DICK BY JEREMY MARK ROBINSON

This book is about the films made from the fiction of Philip K. Dick, which include the classic movie Blade Runner, the Arnold Schwarzenegger actioner Total Recall, Minority Report, directed by Steven Spielberg, and 2007's Next. A thorough exploration of Blade Runner forms the core of the book, looking at the conception, production, themes and influence of the 1982 Warner Brothers film in every detail.

Philip Kindred Dick (1928-1982) was a key figure in 20th century science fiction, famous for embracing drugs and the counter-culture in his work. Dick's fiction includes The Man In the High Castle, Flow My Tears, The Policeman Said, A Scanner Darkly, The Game Players of Titan, Clan of the Alphane Moon, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?, Valis, The Divine Invasion, Martian Time-Slip, The Minority Report, and We Can Remember It For You Wholesale. Dick's themes included perception and reality, drugs, state control, global capitalism, surveillance, and paranoia.

Four films are explored here: Blade Runner, Total Recall, Minority Report and A Scanner Darkly (in a chapter by Thomas Christie). The other films based on Phil Dick's fiction, which are discussed in the final chapter, include Confessions d'un Barjo (a French movie based on Confessions of a Crap Artist), a Canadian film, Screamers, based on Dick's Second Variety story, Paycheck, directed by John Woo, Next (Lee Tamahori, 2007), based on The Golden Man, and Impostor (Gary Fleder, 2002).

The more recent cycle of Philip Kindred Dick movies began with Minority Report and Impostor in 2002 - Paycheck and Next followed in 2003 and 2007, and The Owl In Daylight, a possible film about Dick, and Radio Free Alemuth (2008). A sequel to Screamers was released in 2009, again shooting in Canada, with Peter Weller starring.

Fully illustrated, with a newly revised text for this edition. Bibliography, filmography and notes. ISBN 971861713568.

www.crmoon.com

FROM THE FOREWORD

In this comprehensive book, Jeremy Robinson explores the themes of Blade Runner with his usual insight and knowledge of visual and narrative film. Robinson presents a critical and objective outside viewpoint. He tries to be balanced, and to offer criticism as well as praise. It is ultimately important to note that he is writing about art, not the artist, and he admires Ridley Scott as much as I do.

Blade Runner has been analyzed, debated, dissected and discussed extensively over the last 25 years and I hope you find Jeremy Robinson's exploration into Ridley Scott's seminal sci-fi film noir masterpiece to be innovative and glowing with new ideas that stimulate your imagination and jump start your synapses.

Sheena Duggal, Visual Effects Supervisor, Sony Pictures Imageworks

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

This includes a brilliant line-up of international contributors that examine the implications of the portrayals of Nazis in low-brow culture and that culture's re-emergence today. "Nazisploitation!" examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as "Love Camp 7" and "Ilsa, She-Wolf of the SS" introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the "sleaze" film. More recently, Tarantino's "Inglourious Basterds", as well as video games such as "Call of Duty: World at War", have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the Fuhrer, and Nazi zombies rise from the grave. The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and "sleaze" visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

Cinema is often perceived as a metropolitan medium - an entertainment product of the big city and for the big city. Yet film exhibitors have been bringing moving pictures to towns and villages since the early days of itinerant shows. This volume presents for the first time an exploration of the social, cultural and economic dynamics of film culture in the European countryside. Spanning more than a century of film exhibition from the early twentieth-century to the present day, Cinema Beyond the City examines the role that movie-going has played in small-town and rural communities across Europe. It documents an amazing diversity of sites and situations that are relevant for understanding historical and current patterns in film consumption. In chapters written by leading scholars and young academics, interdisciplinary research is used to address key questions about access, economic viability, audience behaviour, film programming and the cultural flows between cities and hinterlands. With its wide range of regional studies and innovative methodological approaches, the collection will be of interest not only to film historians, but also to scholars in the fields of urban history, rural studies and cultural geography.

The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "grindhouse cinema," the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate "exploitation" films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider "grindhouse cinema" from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of "grindhouse" itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

This fascinating book begins with a new definition of the gangster film and a challenging exploration of the Hong Kong and Hollywood screen traditions.Illuminates the way gangster films deal with the ambiguities of modern life, correcting the notion that this genre is inconsequential sensationalism Contends that both American and Hong Kong gangster films are against-the-grain reactions to the central fable of modern democracies that promise immigrant (and other) outsiders that they can become social insiders Clarifies crucial and fascinating differences between American and Hong Kong approaches to enjoining the discussion of immigrant histories by placing them in counterpoint with each otherDraws on a range of American films, ranging from "Public Enemy" and "Scarface" to "Gangs of New York," "Goodfellas," and "The Godfather" Explores a number of Hong Kong's 21st century gangster films, including Andrew Lau's great trilogy, " Infernal Affairs, " and" Election "and" Election 2, " directed by Hong Kong auteur Johnnie To Concludes with an exclusive interview with "The Sopranos'" creator, David Chase

Director Steven Spielberg's Jurassic Park unleashed an island of awe-inspiring dinosaurs, captivating audiences worldwide. Grossing over $900 million worldwide, the film ushered in a whole new age of digital visual effects and would go on to enthrall generations of moviegoers. The most comprehensive book about the Jurassic Park trilogy to date, Jurassic Park: The Ultimate Visual History begins with an in-depth account of the making of Spielberg's original film, including rare and never-before-seen imagery and exclusive interviews with key creatives. Readers will then unearth the full history of the trilogy, from The Lost World: Jurassic Park to Jurassic Park III, through unprecedented access to the creative process behind the films. Fans will also find a fascinating look at the wider world of the saga, including video games, toys, comics, and more, exploring the lasting legacy of the movies and their influence on pop culture. Jurassic Park: The Ultimate Visual History will be the last word on the most epic saga in movie history-the definitive behind-the-scenes book that fans have been waiting for.