This is a beautifully written study, mixing film studies with cultural studies, of how the Hollywood film industry has treated the 'Other' throughout its history. In "Otherness in Hollywood Cinema", Michael Richardson argues that the Hollywood system has been the only national cinema with the resources and inclination to explore images of others through stories set in exotic and faraway places. He traces many of the ways in which Hollywood has constructed otherness, and discusses the extent to which those images have persisted and conditioned today's understanding. Hollywood was from the beginning teeming with people who had experienced cultural displacement. Coaxing the finest talents from around the world and needing to produce films with an almost universal appeal, Hollywood confounded American insularity while simultaneously presenting a vision of 'America' to the world. The book examines a range of genres from the perspective of otherness, including the Western, film noir, and zombie movies. Films discussed include "Birth of a Nation", "The New World", "The Searchers", "King Kong", "Apocalypse Now", "Blade Runner", "Jaws", and "Dead Man". Erudite and highly informed, this is a sweeping survey of how the American film industry has portrayed the foreign and the exotic.

One way to analyze the intensely conflicting feelings Americans hold toward the Vietnam War is to see how the war has been portrayed through film. How the War Was Remembered is the first book to analyze Vietnam War films. Auster and Quart create a typology of these films based on their connection to sociohistorical currents such as the Wounded Hero, Superman, Hunter/Hero, and the Survivor. They also combine aesthetic analysis with a social, historical, and cultural critique. How the War Was Remembered by Albert Auster and Leonard Quart is a full-length treatment of filmic portrayals of the Vietnam War. From Samuel Fuller's China Gate to Francis Coppala's Apocalypse Now they examine the major works of an ever growing genre. The book is divided into four parts. The first deals with the genre, and the other three specific types within the genre. Notes, a bibliography, and an index complete the volume. Communication Booknotes One way to analyze the intensely conflicting feelings Americans hold toward the Vietnam War is to see how the war has been portrayed through film. How the War Was Remembered is the first book to analyze Vietnam War films, beginning with China Gate, and ending with Hamburger Hill. Included are analyses of all the major films about the Vietnam War, including Green Berets, The Deerhunter, Apocalypse Now, The Killing Fields, Rambo, Platoon, and Full Metal Jacket, and others. Auster and Quart create a typology of these films based on their connection to socio-historical currents such as the Wounded Hero, Superman, Hunter/Hero, and the Survivor. They also combine aesthetic analysis with a social, historical, and cultural critique.

Golden Age Movie Actors as Writers 'Hollywood Lives' is about the movies in the Golden Age (1930-1950). It reviews some 175 star autobiographies distilling out of them the actor's accounts of the Communist Witch Hunt, racial prejudice, studio pressures, the glamour of movie stardom, the bosses, fellow actors and much else. This is the first ever book about movie actors as writers and contains many surprises. Graham Bannock, a British author now in his seventies, has been watching movies and reading about them since he was in his teens. He has authored or co-authored some 30 books, mostly on economics and business.

Jews have played a constant and diverse role in the growth of cinema and film-making. This unique book provides a catalogue of over 1,200 films about Jews and Jewish history, culture, personalities, and issues. It contains entries that have been collected from a variety of sources worldwide (much of it personal correspondence with film-makers themselves) and there is international coverage of the following genres: documentaries; foreign language films; Hollywood features; film testimony; made-for-television mini-series, dramas, and documentaries; educational/instructional films; and Yiddish cinema. Coverage spans from Wallace McCutcheon's silent two-reeler, "Old Isaac, the Pawnbroker" (1907) to Erwin Leiser's new film, "The Class of 1940/Jahrgang 1940," to be released in 1992. Short, medium, and full-length films and monumental mini-series are included--from Evald SchroM's 12-minute "Psalm/Zalm" to Dan Curtis's 18-hour "War and Remembrance."

The second part of the book provides a section of comprehensive indexes, cross-referencing all films by subject (e.g. Amsterdam, the Catskill mountains, Nazi propaganda films, the Six Day War, Yiddish culture), director, country of production (at least 28, from Argentina to Yugoslavia), and source material (i.e. novels, plays, stories, diaries). The volume also includes a list of Jewish film festivals and useful addresses of archives and institutes, as well as a bibliography. This is an extremely valuable book for filmographers, historians, researchers, students, libraries, institutes, festival programmers, and film buffs.

Films have been a part of U.S. society for a century--a source of great enjoyment for the audience and of great profit to filmmakers. How does a mass entertainment medium deal with some of the great sources of dramatic real-life political and economic conflict--the Great Depression, the Cold War--in a way that attracts an audience without making it angry? How does an industry, which has from its beginnings been the subject of attacks from social, political and religious groups deal with political issues and conflicts? This book is an attempt to examine these questions; it is also an examination of some of the greatest and most interesting American films ever made--westerns, gangster films, comedies, war films, satires, and film biographies--to see what American films say about politics and politicians, and what these films, in turn, say about the audience for which they were produced.

A New History of British Documentary is the first comprehensive overview of documentary production in Britain from early film to the present day. It covers both the film and television industries and demonstrates how documentary practice has adapted to changing institutional and ideological contexts.

The Screen Is Red portrays Hollywood's ambivalence toward the former Soviet Union before, during, and after the Cold War. In the 1930s, communism combated its alter ego, fascism, yet both threatened to undermine the capitalist system, the movie industry's foundational core value. Hollywood portrayed fascism as the greater threat and communism as an aberration embraced by young idealists unaware of its dark side. In Ninotchka, all a female commissar needs is a trip to Paris to convert her to capitalism and the luxuries it can offer. The scenario changed when Nazi Germany invaded the Soviet Union in 1941, making Russia a short-lived ally. The Soviets were quickly glorified in such films as Song of Russia, The North Star, Mission to Moscow, Days of Glory, and Counter-Attack. But once the Iron Curtain fell on Eastern Europe, the scenario changed again. America was now swarming with Soviet agents attempting to steal some crucial piece of microfilm. On screen, the atomic detonations in the Southwest produced mutations in ants, locusts, and spiders, and revived long-dead monsters from their watery tombs. The movies did not blame the atom bomb specifically but showed what horrors might result in addition to the iconic mushroom cloud. Through the lens of Hollywood, a nuclear war might leave a handful of survivors (Five), none (On the Beach, Dr. Strangelove), or cities in ruins (Fail-Safe). Today the threat is no longer the Soviet Union, but international terrorism. Author Bernard F. Dick argues, however, that the Soviet Union has not lost its appeal, as evident from the popular and critically acclaimed television series The Americans. More than eighty years later, the screen is still red.

In America, the long 1950s were marked by an intense skepticism toward utopian alternatives to the existing capitalist order. This skepticism was closely related to the climate of the Cold War, in which the demonization of socialism contributed to a dismissal of all alternatives to capitalism. This book studies how American novels and films of the long 1950s reflect the loss of the utopian imagination and mirror the growing concern that capitalism brought routinization, alienation, and other dehumanizing consequences. The volume relates the decline of the utopian vision to the rise of late capitalism, with its expanding globalization and consumerism, and to the beginnings of postmodernism.

In addition to well-known literary novels, such as NabokoV's "Lolita, " Booker explores a large body of leftist fiction, popular novels, and the films of Alfred Hitchcock and Walt Disney. The book argues that while the canonical novels of the period employ a utopian aesthetic, that aesthetic tends to be very weak and is not reinforced by content. The leftist novels, on the other hand, employ a realist aesthetic but are utopian in their exploration of alternatives to capitalism. The study concludes that the utopian energies in cultural productions of the long 1950s are very weak, and that these works tend to dismiss utopian thinking as na DEGREESDive or even sinister. The weak utopianism in these works tends to be reflected in characteristics associated with postmodernism.

This book is an original and highly detailed reference work on Eastern European films and is the first of its kind to provide such a wealth and breadth of information. There is full coverage of over 350 major postwar film-makers from nine countries: Albania, Bulgaria, Czechoslovakia, East Germany, Hungary, Poland, Romania, the Soviet Union, and Yugoslavia.

The entries are listed alphabetically by film director's surname. Each entry includes biographical and career details, a complete list of films made--with dates, original language titles, and recognized English language titles--and an indication of the director's other involvement in the film (as scriptwriter or actor, for example). Also included are co-productions and banned films, many of which have only recently been released. There are two comprehensive indexes: one arranges film-makers by country, the other lists all film titles--nearly 6,000--both in the original languages and in English. The volume also includes a detailed bibliography. It will be of great use to filmographers, students and scholars of Eastern European film, and others interested in the history of film.

Let Maleficent, Captain Hook, and other classic baddies guide your tarot practice with the only official tarot deck featuring Disney's most wicked villains. Disney's most iconic villains have taken over tarot in this dastardly take on a traditional 78-card deck. Featuring the notorious ne'er-do-wells from classic animated films like 101 Dalmations, The Little Mermaid, Sleeping Beauty, and more, this tarot deck reimagines Cruella de Vil, Ursula, Maleficent and the whole motley crew in original illustrations based on classic tarot iconography. Including both the Major and Minor Arcana, the set also comes with a helpful guidebook with explanations of each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this devious deck of tarot cards is the perfect gift for Disney fans and tarot enthusiasts everywhere.

During World War I, the Catholic church blocked the distribution of government-sponsored V.D. prevention films, initiating an era of attempts by the church to censor the movie industry. This book is an entertaining and engrossing account of those efforts-how they evolved, what effect they had on the movie industry, and why they were eventually abandoned. Frank Walsh tells how the church's influence in Hollywood grew through the 1920s and reached its peak in the 1930s, when the film industry allowed Catholics to dictate the Production Code, which became the industry's self-censorship system, and the Legion of Decency was established by the church to blacklist any films it considered offensive. With the industry's Joe Breen, a Catholic layman, cutting movie scenes during production and the Legion of Decency threatening to ban movies after release, the Catholic church played a major role in determining what Americans saw and didn't see on the screen during Hollywood's Golden Age. Walsh provides fascinating details about the church's efforts to guard against anything it felt might corrupt moviegoers' morals: forcing Gypsy Rose Lee to change her screen name; investigating Frank Sinatra's fitness to play a priest in Miracle of the Bells; altering a dance sequence in Oklahoma; eliminating marital infidelity from Two-Faced Woman; compelling Howard Hughes to make 147 cuts in The Outlaw; blocking the distribution of Birth of a Baby; and attacking Asphalt Jungle for serving the "crooked purposes of the Soviet Union." However, notes Walsh, there were serious divisions within the church over film policy. Bishops feuded with one another over how best to deal with movie moguls, priests differed over whether attending a condemned film constituted a serious sin, and Legion of Decency reviewers disagreed over film evaluations. Walsh shows how the decline of the studio system, the rise of a new generation of better-educated Catholics, and changing social values gradually eroded the Legion's power, forcing the church eventually to terminate its efforts to control the type of film that Hollywood turned out. In an epilogue he relates this history of censorship to current efforts by Christian fundamentalists to end "sex, violence, filth, and profanity" in the media.

"The biography is as good an introduction to Chaplin's life and films as has been published. The bibliographical essay . . . offers clear and reliable evaluations of the works considered. The filmography carefully lists everyone involved in each Chaplin film." Choice

Object fetishism is becoming a more and more pervasive phenomenon. Focusing on literature and the visual arts, including cinema, this book suggests a parallelism between fetishism and artistic creativity, based on a poetics of detail, which has been brilliantly exemplified by Flaubert's style. After exploring canonical accounts of fetishism (Marx, Freud, Benjamin), by combining a historicist approach with theoretical speculation, Massimo Fusillo identifies a few interpretive patterns of object fetishism, such as seduction (from Apollonius of Rhodes to Max Ophuls), memory activation (from Goethe to Louise Bourgeois and Pamuk), and the topos of the animation of the inanimate. Whereas all these patterns are characterized by a projection of emotional values onto objects, modernism highlights a more latent component of object fetishism: the fascination with the alterity of matter, variously inflected by Proust, Woolf, Joyce, Barnes, and Mann. The last turning point in Fusillo's analysis is postmodernism and its obsession with mass media icons-from DeLillo's maximalist frescos and Zadie Smith's reflections on autographs to Palahniuk's porn objects; from pop art to commodity sculpture.

A well argued, comparative study of male jealousy in literature and film, informed by critical theory and engaging with key philosophical figures such as Derrida, Freud and Lacan."Male Jealousy: Literature and Film" is a critical and cultural theory-based study of male jealousy in western culture and its connections with paranoia. By tracing the meanings of jealousy and the representation of jealous men (married or unmarried, heterosexual or homosexual), Lo argues that jealousy is promoted within patriarchy and within what Derrida characterises as logocentricism, where to love is the desire to be loved, and where love cannot be guaranteed in any form of sexual relationship.Contrasting the difference between jealousy and its closely linked concept, envy, this book explores the economy of possession and its relationship to the body, and argues, controversially, that jealousy is an even more modern concept than envy. Informed by critical theory, engaging in particular with Derrida, Deleuze, Freud, Lacan and Kristeva, the study offers close readings of key works by Cervantes, Shakespeare, Proust, Bunuel, Vidor and Almodovar, in which a spectrum of different forms of jealousy are portrayed.

Peter Sellers's explosive talent made him a beloved figure in world cinema and continues to attract new audiences. With his darkly comic performances in Dr. Strangelove and Lolita and his outrageously funny appearances as Inspector Clouseau in the Pink Panther films, he became one of the most popular movie stars of his time. Sellers himself identified most personally with the character he played in Being There--an utterly empty man on whom others projected what they wanted, or needed, to see. In this lively and exhaustively researched biography, Ed Sikov offers unique insight into Sellers's comedy style. Beginning with Sellers' lonely childhood with a mother who wouldn't let go of him, through his service in the Royal Air Force and his success on BBC Radio's The Goon Show, Sikov goes on to detail his relationships with co-stars such as Alec Guinness, Sophia Loren, and Shirley MacLaine; his work with such directors as Stanley Kubrick, Billy Wilder, and Blake Edwards; his four failed marriages; his ridiculously short engagement to Liza Minnelli; and all the other peculiarities of this eccentric man's unpredictable life. The most insightful biography ever written of this endlessly fascinating star, Mr. Strangelove is as comic and tragic as Peter Sellers was himself.

Literary style is something many people talk about, but few could define. Yet it is crucial for our response to narrative art. Style can facilitate or obscure the events of a story or the motivations of a character, enhance the aesthetic appeal of a narrative or complicate its emotional impact, and even inflect the political or ethical implications of a work. It is precisely this complex operation of style that Patrick Colm Hogan explains in Style in Narrative. Drawing on recent psychological research, this book proposes a new and clear definition of style and provides a systematic theoretical account of style in relation to cognitive and affective science. Hogan's definition stresses that style varies by both scope, or the range of text or texts that may share a style, and level, the components of an individual work that might involve a shared style. The book uses rich examples from literature, film, and graphic fiction, including analysis of Virginia Woolf's Mrs. Dalloway, Shakespeare's canon, William Faulkner's As I Lay Dying, and Art Spiegelman's Maus, as well as visual analysis of films by Robert Rodriguez, Deepa Mehta, Eric Rohmer, M.F.Husain, Yasujiro Ozu, and Chuan Lu. Through these studies Hogan identifies stylistic concerns common across mediums as well as the most consequential stylistic differences between them. Bringing together three often separated mediums within a coherent framework, Style in Narrative makes an important contribution to and necessary intervention in the field of stylistics.

Surveys Quentin Tarantino's enthralling career at the heart of cult filmmaking, from Reservoir Dogs to his latest film, Once Upon a Time in Hollywood

Quentin Tarantino is one of the most influential and distinctive filmmakers at work in the world today. His films are so admired that nearly every one he makes becomes an instant cult classic. Here, Tom Shone presents in-depth commentaries on each of the ten films Tarantino has directed, from Reservoir Dogs to Once Upon a Time in Hollywood, as well as looking at his early life, acting career, and his indisputable talent for scriptwriting. Illustrated with more than two hundred film stills and behind-the-scenes images, Tarantino: A Retrospective is a fitting tribute to the great auteur’s unique talent.

A unique resource detailing the developments and use of special effects in the American movie industry, this title is well indexed and illustrated with 366 entries. It covers Academy Award-winning special effects movies, groundbreaking techniques, equipment, and devices, special effects houses, and pivotal figures in mechanical and visual special effects, makeup, creature design, directing, and stunt work."--"Outstanding Reference Sources," American Libraries, May 2001.

Gene Tierney may be one of the most recognizable faces of studio-era Hollywood: she starred in numerous classics, including Leave Her to Heaven, The Ghost and Mrs. Muir, and Laura, with the latter featuring her most iconic role. While Tierney was considered one of the most beautiful women in Hollywood, she personified "ordinariness" both on- and off-screen. Tierney portrayed roles such as a pinup type, a wartime worker, a wife, a mother, and, finally, a psychiatric patient-the last of which may have hit close to home for her, as she would soon leave Hollywood to pursue treatment for mental illness and later attempted suicide in the 1950s. After her release from psychiatric clinics, Tierney sought a comeback as one of the first stars whose treatment for mental illness became public knowledge. In this book, Will Scheibel not only examines her promotion, publicity, and reception as a star but also offers an alternative history of the United States wartime efforts demonstrated through the arc of Tierney's career as a star working on the home front. Scheibel's analysis aims to showcase that Tierney was more than just "the most beautiful woman in movie history," as stated by the head of production at Twentieth Century Fox in the 1940s and 1950s. He does this through an examination of her making, unmaking, and remaking at Twentieth Century Fox, rediscovering what she means as a movie legend both in past and up to the present. Film studies scholars, film students, and those interested in Hollywood history and the legacy of Gene Tierney will be delighted by this read.

Since 2001, Trevor Lynch's witty, pugnacious, and profound film essays and reviews have developed a wide following among cinephiles and White Nationalists alike. Lynch deals frankly with the anti-white bias and Jewish agenda of many mainstream films, but he is even more interested in discerning positive racial messages and values, sometimes in the most unlikely places. Trevor Lynch's White Nationalist Guide to the Movies gathers together some of his best essays and reviews covering 32 movies, including his startling philosophical readings of Pulp Fiction, The Dark Knight Trilogy, and Mishima; his racialist interpretations of The Lord of the Rings and Gangs of New York; his masculinist readings of The Twilight Saga and A History of Violence; his insights into the Jewish nature of the superhero genre occasioned by Guillermo del Toro's Hellboy movies; and his hilarious demolitions of The Matrix Trilogy, The Girl With the Dragon Tattoo series, and the detritus of Quentin Tarantino's long decline. Trevor Lynch's White Nationalist Guide to the Movies establishes its author as a leading cultural theorist and critic of the North American New Right. "Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film-one that will send you running to the video rental store for a look at some very worthwhile movies-although he is also quite willing to tell you what not to see. He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession. Trevor Lynch's collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West." - Kevin MacDonald, author of The Culture of Critique, from the Foreword "Hollywood has been deconstructing the white race for nearly a century. Now Trevor Lynch is fighting back, deconstructing Hollywood from a White Nationalist point of view. But these essays are not just of interest to White Nationalists. Lynch offers profound and original insights into more than 30 films, including Christopher Nolan's The Dark Knight, Quentin Tarantino's Pulp Fiction, Guillermo del Toro's Hellboy, and Martin Scorsese's Gangs of New York. These essays combine a cultural and philosophical sophistication beyond anything in film studies today with a lucid, accessible, and entertaining prose style. Every serious cineaste needs to read this book." - Edmund Connelly "The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn't stand a chance." - F. Roger Devlin, author of Alexandre Kojeve and the Outcome of Modern Thought "Trevor Lynch's White Nationalist Guide to the Movies is not some collection of vein-popping rants about Hollywood's political agendas. It's a thoughtful and engaging examination of ideas in popular films from a perspective you won't find in your local newspaper or in Entertainment Weekly. Lynch has chosen films that-in many cases-he actually enjoyed, and playfully teased out the New Right themes that mainstream reviewers can only afford to address with a careful measure of scorn. How many trees have been felled to print all of the Marxist, feminist, minority-pandering 'critiques' of contemporary celluloid over the past fifty years? Isn't it about time we read an explicitly white review of The Fellowship of the Ring, or Traditionalist take on take on The Dark Knight?" - Jack Donovan, author of The Way of Men