This is the first full-length study devoted to the films of Wes Anderson, one of the most distinctive filmmakers working today. This first full-length consideration of this noted director's work, Wes Anderson: Why His Movies Matter is organized chronologically to encompass all of Anderson's films, from 1996's Bottle Rocket to Rushmore, The Royal Tenenbaums, and the 2009 release, The Fantastic Mr. Fox. The study includes analysis of Anderson's work in commercials, his representation of race and class, his main stylistic influences, and his innovations in the use of frame. Beyond that, author Mark Browning considers whether Anderson's allusions create resonance or simply play a game with an audience keen to spot references. He argues that, in Anderson's films, the style is the substance, and the apparent comedic superficiality is what actually provides depth. Chapters covering the individual films are followed by an examination of Anderson as set designer, author, and stylist. The conclusion explains how his films can be viewed as relevant, exploring links to events and figures in the real world. A bibliography

Sidney Poitier remains one of the most recognizable black men in the world. Widely celebrated but at times criticized for the roles he played during a career that spanned 60 years, there can be no comprehensive discussion of black men in American film, and no serious analysis of 20th century American film history that excludes him. Poitier Revisited offers a fresh interrogation of the social, cultural and political significance of the Poitier oeuvre. The contributions explore the broad spectrum of critical issues summoned up by Poitier's iconic work as actor, director and filmmaker. Despite his stature, Poitier has actually been under-examined in film criticism generally. This work reconsiders his pivotal role in film and American race relations, by arguing persuasively, that even in this supposedly 'post-racial' moment of Barack Obama, the struggles, aspirations, anxieties, and tensions Poitier's films explored are every bit as relevant today as when they were first made.

This book analyses the film industries and cinema cultures of Nazi-occupied countries (1939-1945) from the point of view of individuals: local captains of industry, cinema managers, those working for film studios and officials authorized to navigate film policy. The book considers these people from a historical perspective, taking into account their career before the occupation and, where relevant, pays attention to their post-war lives. The perspectives of these historical agents" contributes to an understanding of how top-down orders and haphazard signals from the occupying administration were moulded, adjusted and distorted in the process of their translation and implementation. This edited collection offers a more dynamic and less deterministic approach to research on the international expansion of Third-Reich cinema in World War Two; an approach that strives to balance the role of individual agency with the structural determinants. The case studies presented in this book cover the territories of Belgium, Czechoslovakia, France, the Netherlands, Norway, Poland and the Soviet Union.

As in western cinema, cross-dressing is a recurrent theme in Turkish film. But what do these films, whose characters typically cross-dress in order to escape enemies or other threats, tell us about the modern history of the Turkish Republic? This book examines cross-dressing in Turkish films in the context of formative events in modern Turkish political history, arguing that this trope coincides with and is illustrative of trauma induced by Turkey's multiple coup d'etats, periods of authoritarianism, enforced secularism and 'modernization'. Burcu Dabak Ozdemir analyses five case study films wherein she reveals that cross-dressing characters are able to escape persecutors and surveillance - key instruments of oppression during Turkey's coups. She shows how cross-dressing in the films examined become a destabilising force, a form of implicit resistance against state power, both political and in terms of binaries of gender and identity, and a means to register moments of national trauma. The book historicises the concept of cross-dressing in modern Turkey by examining what the author argues is a formative trauma worked through in the films examined: the westernization policies of the Kemalist regime whose most immediate symbolic presence was worn - the enforced adoption of western dress by citizens. Of interest to scholars of gender, queer, film and trauma studies, the book will also appeal to students and scholars of contemporary Turkish culture and society.

At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.

Michel Chion's study of the film and television work of David Lynch has become, since its first English publication in 1995, the definitive book on one of America's finest contemporary directors. In this new edition Chion brings the book up-to-date to take into account Lynch's work in the past ten years, including the major features "Lost Highway, The Straight Story," and "Mulholland Drive. "Newly redesigned and re-illustrated, "David Lynch "is an indispensable companion.

A fully revised, updated and expanded edition of the seminal text on film

A new edition of the most accessible and compelling history of the cinema yet published, which is now updated with extra chapters. The Story of Film explores cinema from around the world and shows how cinematic ideas and techniques cross national boundaries. Divided into three main epochs--Silent (1885-1928), Sound (1928-1990), and Digital (1990-Present)--the movies are discussed within chapters reflecting both the stylistic concerns of the moviemakers and the political and social themes of the time. This edition includes new text that encompasses the further-reaching scope of world cinema today, and the huge leaps in technology that have changed cinema screens forever. Clearly written, and illustrated with over 400 stills, including numerous sequences explaining how scenes work, The Story of Film is essential reading for both film students and the general moviegoer.

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.

This book presents a historical overview of the Indonesian film industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women's rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political changes and upheavals in Indonesia's modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.

In order to be able to protect human rights, it is first necessary to see the denial of those rights. Aside from experiencing human rights violations directly, either as a victim or as an eyewitness, more than any other medium film is able to bring us closer to this aspect of the human experience. Yet, notwithstanding its importance to human rights, film has received virtually no scholarly attention and thus one of the primary goals of this book is to begin to fill this gap. From an historical perspective, human rights were not at all self-evident by reason alone, but had to gain standing through an appeal to human emotions found in novels as well as in works of moral philosophy and legal theory. Although literature continues to play an important role in the human rights project, film is able to take us that much further, by universalizing the particular experience of others different from ourselves, the viewers. Watching Human Rights analyzes more than 100 of the finest human rights films ever made-documentaries, feature films, faux documentaries, animations, and even cartoons. It will introduce the reader to a wealth of films that might otherwise remain unknown, but it also shows the human rights themes in films that all of us are familiar with.

In "The Producers," Luke Ford profiles major players in entertainment including Edgar J. Scherick, creator of "ABC's Wide World of Sports," Stephen J. Cannell, whose television programs have grossed over $1 billion, and Jay Bernstein, former manager of Farrah Fawcett and Linda Evans.

The life of a typical Hollywood producer is a "profile in frustration." What drives these middlemen to subjugate their own egos for more than a decade, at times, to make a movie or TV show?

This book explores the idea that while we see the vampire as a hero of romance, or as a member of an oppressed minority struggling to fit in and acquire legal recognition, the vampire has in many ways changed beyond recognition over recent decades due to radically shifting formations of the sacred in contemporary culture. The figure of the vampire has captured the popular imagination to an unprecedented extent since the turn of the millennium. The philosopher Rene Girard associates the sacred with a communal violence that sacred ritual controls and contains. As traditional formations of the sacred fragment, the vampire comes to embody and enact this 'sacred violence' through complex blood bonds that relate the vampire to the human in wholly new ways in the new millennium.

Satire is often defined as a moral and rhetorical art that engages in social critique through wit and ridicule. During its long history it has come in many forms and genres as well as in different types of media (verse, drama, rhetorical performance, prose, cartoons, journalism, film, TV, internet). Here, Nilsson examines American film satire produced during the 1990s and how its style and form cue viewers towards constructing satirical meaning. The study offers an explanation for how a particular selection of films turned material circulating in American culture of the 1990s into satirical experiences for viewers and finds that there are elements of resistance to mainstream culture in the original material: resistance to norms and conventions in politics, to mainstream news channels and Hollywood, and to official American history.

Here is the astonishing true story of Bollywood, a sweeping portrait about a country finding its identity, a movie industry that changed the face of India, and one man's struggle to become a star. Shah Rukh Khan's larger than life tale takes us through the colorful and idiosyncratic Bollywood movie industry, where fantastic dreams and outrageous obsessions share the spotlight with extortion, murder, and corruption. Shah Rukh Khan broke into this $1.5 billion business despite the fact that it has always been controlled by a handful of legendary film families and sometimes funded by black market money. As a Muslim in a Hindu majority nation, exulting in classic Indian cultural values, Shah Rukh Khan has come to embody the aspirations and contradictions of a complicated culture tumbling headlong into American style capitalism. His story is the mirror to view the greater Indian story and the underbelly of the culture of Bollywood.

"A bounty for cinema lovers everywhere."
--Mira Nair, Director, The Namesake and Monsoon Wedding

"King of Bollywood is the all-singing, all-dancing back stage pass to Bollywood. Anupama Chopra chronicles the political and cultural story of India with finesse and insight, through fly-on-wall access to one of its biggest, most charming and charismatic stars."
-- Gurinder Chadha, director of Bend it Like Beckham
"The "Easy Rider Raging Bull" of the Bollywood industry and essential reading for any Shah Rukh Khan fan."
--Emma Thompson, actress
"Anu Chopra infuses the pivotal moments of Shah Rukh Khan's life with an edge-of-your-seat tension worthy of the best Bollywood blockbusters."
--Kirkus

This volume analyses the role of Bram Stoker's Dracula and its sequels in the evolution of the Gothic. As well as the transformation of the Gothic location-from castles, cemeteries and churches to the modern urban gothic-this volume explores the evolution of the undead considering a range of media from the 19th century protagonist to sympathetic contemporary vampires of teen Gothic. Based on an interdisciplinary approach (literature, tourism, and film), the book argues that the development of the Dracula myth is the result of complex international influences and cultural interactions. Offering a multifarious perspective, this volume is a reference work that will be useful to both academic and general readers.

One of the most colourful, innovative and controversial film directors of the 60s and 70s, Sam Peckinpah is best known for the challenging classic western The Wild Bunch. Garner Simmons, television and screenwriter who served on the set of two Peckinpah films, spent ten years researching the definitive biography of his sometime mentor. He interviewed Peckinpah himself at great length, and talked candidly with such co-workers as Jason Robards, Steve McQueen, Ali McGraw, Charlton Heston, Dustin Hoffman and Kris Kristofferson, as well as with various film executives and technicians. Their words enhance Simmon's vivid portrait of a complex, intuitive near-genius who, believing that creativity can be born only out of turmoil, was always prepared to cause it.

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.

Analyzing a sample of 25 films, including such notables as "Red River," "Shane," "Unforgiven," "The Wild Bunch," "Wyatt EarP," and "Dances with Wolves," this work examines traditional leadership theories as reflected in the western film genre. The western vividly portrays a variety of leadership styles, motifs, and characteristics giving perspective on several traditional leadership theories. The different leadership styles the films exhibit are categorized and described through content analysis. Some of the concepts and underlying theories and styles reveal a universal quality about leadership that transcends theoretical research. As a cultural study that traces the relative popularity of leadership styles, this work provides new insight toward studying leadership effectiveness.

Through the lens of leadership theory, this unique look at the western films from 1945 to 1995 and the American culture they depict will appeal not only to leadership, film, and popular culture scholars but to leaders in business, government, and the military. Chapters group films by their similar depiction of leadership styles. Within each chapter the films are separately described, then each is explored within the context of leadership theory. Films prior to 1980 are included on the basis of their critical or commercial success, while films after 1980 are included on the basis of their box office success or their individual portrayals of gender or cultural leadership.

This is the first book to critically examine Hollywood films that focus on male partner violence against women. These films include Gaslight, Sleeping with the Enemy, What's Love Got to Do with It, Dolores Claiborne, Enough, and Safe Haven. Shaped by the contexts of postfeminism, domestic abuse post-awareness, and familiar genre conventions, these films engage in ideological "gaslighting" that reaffirms our preconceived ideas about men as abusers, women as victims, and the racial and class politics of domestic violence. While the films purport to condemn abuse and empower abused women, this study proposes that they tacitly reinforce the very attitudes that we believe we no longer tolerate. Shoos argues that films like these limit not only popular understanding but also social and institutional interventions.

A one-of-a-kind miniature replica of the Hogwarts School of Witchcraft and Wizardry for fans and collectors of Harry Potter and J. K. Rowling’s Wizarding World. Kit includes:

- 4 x 3-inch molded collectible replica of the Hogwarts School of Witchcraft and Wizardry, with flickering light feature

- 16-page sticker book with 8 Hogwarts-related full-color photographs from the Harry Potter films

Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common. After the Second World War both the East and the West adopted a mixed system, containing elements of both socialism and capitalism, and from the 1980s on the whole of Europe, albeit at an uneven speed, followed the neoliberal agenda. This book examines how the economic systems of the East and West impacted labor by focusing on the representation of work in European cinema. Using a Marxist perspective, it compares the situation of workers in Western and Eastern Europe as represented in both auteurist and popular films, including those of Tony Richardson, Lindsay Anderson, Jean-Luc Godard, Andrzej Wajda, DusanMakavejev, Jerzy Skolimowski, the Dardenne Brothers, Ulrich Seidl and many others.