A filmmaker whose work exhibits a wide range of styles and approaches, Louis Malle (1932-1995) was the only French director of his generation to enjoy a significant career in both France and the United States. Although Malle began his career alongside members of the French New Wave like Francois Truffaut, Jean-Luc Godard, and Claude Chabrol, he never associated himself with that group. Malle is perhaps best known for his willingness to take on such difficult or controversial topics as suicide, incest, child prostitution, and collaboration with the Nazis during World War II. His filmography includes narrative films like Zazie dans le Metro, Murmur of the Heart, Atlantic City, My Dinner with Andre, and Au revoir les enfants, as well as several major documentaries. In the late 1970s, Malle moved to the United States, where he worked primarily outside of the Hollywood studio system. The films of his American period display his keen outsider's eye, which allowed him to observe diverse aspects of American life in settings that ranged from turn-of-the-century New Orleans to present-day Atlantic City and the Texas Gulf Coast. Louis Malle: Interviews covers the entirety of Malle's career and features seventeen interviews, the majority of which are translated into English here for the first time. As the collection demonstrates, Malle was an extremely intelligent and articulate filmmaker who thought deeply about his own choices as a director, the ideological implications of those choices, and the often-controversial themes treated in his films. The interviews address such topics as Malle's approach to casting and directing actors, his attitude toward provocative subject matter and censorship, his understanding of the relationship between documentary and fiction film, and the differences between the film industries in France and the US. Malle also discusses his sometimes-challenging work with such actors as Brigitte Bardot, Pierre Blaise, and Brooke Shields, and sheds new light on the making of his films.

Featuring interviews with key cast and crew members, including Michael J. Fox, Christopher Lloyd, Robert Zemeckis, Bob Gale, and Steven Spielberg, Back to the Future: The Ultimate Visual History tells the complete story behind the movies, Back to the Future: The Ride, the animated series, and more. This revised and updated edition features additional Back to the Future content, including a deep dive into Telltale Games' video game and IDW's series of comics, as well as a look at the most memorable Back to the Future merchandise, such as Funko's line of collectibles. You'll also find an exclusive look at Back to the Future: The Musical, with commentary from writer and producer Bob Gale. (c) 2020 Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved.

Reality, Magic, and Other Lies: Fairy-Tale Film Truths explores connections and discontinuities between lies and truths in fairy-tale films to directly address the current politics of fairy tale and reality. Since the Enlightenment, notions of magic and wonder have been relegated to the realm of the fanciful, with science and reality understood as objective and true. But the skepticism associated with postmodern thought and critiques from diverse perspectives - including but not limited to anti-racist, decolonial, disability, and feminist theorizing - renders this binary distinction questionable. Further, the precise content of magic and science has shifted through history and across location. Pauline Greenhill offers the idea that fairy tales, particularly through the medium of film, often address those distinctions by making magic real and reality magical. Reality, Magic, and Other Lies consists of an introduction, two sections, and a conclusion, with the first section, "Studio, Director, and Writer Oeuvres", addressing how fairy-tale films engage with and challenge scientific or factual approaches to truth and reality, drawing on films from the stop-motion animation company LAIKA, the independent filmmaker Tarsem, and the storyteller and writer Fred Pellerin. The second section, "Themes and Issues from Three Fairy Tales", shows fairy-tale film magic exploring real-life issues and experiences using the stories of "Hansel and Gretel", "The Juniper Tree\2, and "Cinderella". The concluding section, "Moving Forward?" suggests that the key to facing the reality of contemporary issues is to invest in fairy tales as a guide, rather than a means of escape, by gathering your community and never forgetting to believe. Reality, Magic, and Other Lies-which will be of interest to film and fairy-tale scholars and students-considers the ways in which fairy tales in their mediated forms deconstruct the world and offer alternative views for peaceful, appropriate, just, and intersectionally multifaceted encounters with humans, non-human animals, and the rest of the environment.

Teaching with film is not a new approach in the social studies classroom. Different publications, such as Hollywood or History, have bridged the gap with challenges attached to using historical film and engage students through inquiry, not entertainment. To continue with the Hollywood or History strategy, this text uses television shows (sitcoms) to brings issue-centered curriculum to middle and high school classrooms. By exploring issues in specific episodes, students can learn the history behind an issue, relate it to their lives, and develop an informed decision associated with the issue. The College, Career, and Civic Life (C3) framework is an integral part to the exploration of issue-centered curriculum. In each chapter, the students will work through the four dimensions and develop critical thinking, reading, and writing skills. My hope is that this text can play a small role in walking practicing teachers through the C3 framework while allowing students to learn about issues that affect society and the communities where they live.

Focusing on films from Chile since 2000 and bringing together scholars from South and North America, Chilean Cinema in the Twenty-First-Century World is the first English-language book since the 1970s to explore this small, yet significant, Latin American cinema. The volume questions the concept of "national cinemas" by examining how Chilean film dialogues with trends in genre-based, political, and art-house cinema around the world, while remaining true to local identities. Contributors place current Chilean cinema in a historical context and expand the debate concerning the artistic representation of recent political and economic transformations in contemporary Chile. Chilean Cinema in the Twenty-First-Century World opens up points of comparison between Chile and the ways in which other national cinemas are negotiating their place on the world stage. The book is divided into five parts. "Mapping Theories of Chilean Cinema in the Worl"" examines Chilean filmmakers at international film festivals, and political and affective shifts in the contemporary Chilean documentary. "On the Margins of Hollywood: Chilean Genre Flicks" explores on the emergence of Chilean horror cinema and the performance of martial arts in Chilean films. "Other Texts and Other Lands: Intermediality and Adaptation Beyond Chile(an Cinema)" covers the intermedial transfer from Chilean literature to transnational film and from music video to film. "Migrations of Gender and Genre" contrasts films depicting transgender people in Chile and beyond. "Politicized Intimacies, Transnational Affects: Debating (Post)memory and History" analyzes representations of Chile's traumatic past in contemporary documentary and approaches mourning as a politicized act in postdictatorship cultural production. Intended for scholars, students, and researchers of film and Latin American studies, Chilean Cinema in the Twenty-First-Century World evaluates an active and emergent film movement that has yet to receive sufficient attention in global cinema studies.

In defiance of the alleged "death of romantic comedy," After "Happily Ever After": Romantic Comedy in the Post-Romantic Age edited by Maria San Filippo attests to rom-com's continuing vitality in new modes and forms that reimagine and rejuvenate the genre in ideologically, artistically, and commercially innovative ways. No longer the idyllic fairy tale, today's romantic comedies ponder the realities and complexities of intimacy, fortifying the genre's gift for imagining human connection through love and laughter. It has often been observed that the rom-com's "happily ever after" trope enables the genre to avoid addressing the challenges of coupled life. This volume's contributors confront how recent rom-coms contend with a "post-romantic age" of romantic disillusionment and seismically shifting emotional and relational bonds. Fifteen chapters contemplate the resurgence of the "radical romantic comedy" and uncoupling comedy, new approaches in genre hybridity and serial narrative, and how recent rom-coms deal with divisive topical issues and contemporary sexual mores from reproductive politics and marriage equality to hook-up culture and technology-enabled sex. Rom-coms remain underappreciated and underexamined-and still largely defined within Hollywood's parameters of culturally normative coupling and its persistent marginalization of racial and sexual minorities. Making the case for taking romantic comedy seriously, this volume employs critical perspectives drawn from feminist, queer, postcolonial, and race studies to critique the genre's homogeneity and social and sexual conservatism, recognizing innovative works inclusive of LGBTQ people, people of color, and the differently aged and abled. Encompassing a rich range of screen media from the last decade, After "Happily Ever After" celebrates works that disrupt and subvert rom-com fantasy and formula so as to open audience's eyes along with our hearts. This volume is intended for all readers with an interest in film, media, and gender studies.