A unique, exhaustively researched viewers guide to movies about Jesus that takes readers film-by-film from Olcott's silent classic From the Manger to the Cross (1912) through Dornford- May's Son of Man (2006). Drawing on his experience as a biblical scholar and teacher on religion and film, Barnes Tatum looks at Jesus films in all their dimensions: as cinematic art, literature, biblical history, and theology. A fascinating analysis of all the Jesus movies that have been made since the beginning of cinematography.

Bertrand Tavernier (b. 1941) is widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s, in the wake of the New Wave. In just over forty years, he has directed twenty-two feature films in an eclectic range of genres, from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature--L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize--Tavernier has shown himself to be a public intellectual. Like his films, he is deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he is immensely knowledgeable about world cinema and American film in particular. Tavernier's roots are in Lyon, the birthplace of the cinema. He founded and presides over the Institut Lumiere, which hosts retrospectives and an annual film festival in the factory where the Lumiere brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumiere brothers, in that his goal, like theirs, is to ""show the world to the world."" It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

Margarethe von Trotta (b. 1942) entered the film industry in the only way she could in the 1960s-as an actress. Throughout her career, von Trotta added thirty-two acting credits to her name; however, these credits came to a halt in 1975. Her ambition had always been to be a movie director. Though she viewed acting as a detour, it allowed her to be in the right place at the right time, and through her line of work she met such important directors as Rainer Werner Fassbinder and Volker Schloendorff. The latter would eventually provide her with the opportunity to codirect her first film, Die Verlohrene Ehre der Katharina Blum (The Lost Honor of Katharina Blum) in 1975. The debut's success ensured von Trotta's future in the film industry and launched her accomplished film directing career. In Margarethe von Trotta: Interviews, volume editor Monika Raesch furnishes twenty-four illuminating interviews with the auteur. Spanning three decades, from the mid-1980s until today, the interviews reveal not only von Trotta's life in the film industry, but also evolving roles of and opportunities provided to women over that time period. This collection of interviews presents the different dimensions of von Trotta through the lenses of film critics, scholars, and journalists. The volume offers essential reading for anyone seeking a better understanding of an iconic female movie director at a time when this possibility for women just emerged.

The prospect of dinner and a movie is always an enticing one. Whether it is a date early on in a relationship with all the apprehension and barely contained frisson that that entails or an opportunity for a child free evening and the chance to watch a full length film of your choice without having to keep your finger on the remote to pause for toilet breaks, the combination of food and cinema is a winning one. Food is inextricably linked to all aspects of our lives, food for feasts, food to comfort, food to harm and always food to raise the sexual tension. Cinematographers know this too. So often there are dishes in a movie that deserve a mention in the credits so pivotal are they to the storyline. You only have to mention "Silence of the Lambs" for fava beans and chianti spring into the conversation and apple pie is often off or suddenly back on the menu for anyone who has recently watched American Pie for the first time. Let us get one thing straight here the dishes celebrated in this book are not physically available at the pictures. Food served in containers too large to be used as airline carryon baggage is not what this book is about. The recipes here are for those movie moments that made you step away from the popcorn bucket. Who doesn't want to slice garlic with a razor blade to create the garlicky spaghetti sauce so lovingly made in Goodfellas or jump through the screen to nibble absolutely everything in Willy Wonka's chocolate factory (including Johnny Depp although that may be just my own fantasy) and every woman on this planet wants "what she's having" in When Harry met Sally! So this is your chance, if it was eaten on screen then the recipe for it may well be in this book. Unless of course you fancy making the chilled monkey brains from Indiana Jones and the Temple of Doom in which case I suggest you still buy the book but change your dessert plans. What about a nice Apple Strudel from the Sound of Music instead?

The Culture and Philosophy of Ridley Scott, edited by Adam Barkman, Ashley Barkman, and Nancy Kang, brings together eighteen critical essays that illuminate a nearly comprehensive selection of the director's feature films from cutting-edge multidisciplinary and comparative perspectives. Chapters examine such signature works as Alien (1979), Blade Runner (1982), Thelma and Louise (1991), Gladiator (2000), Hannibal (2001), Black Hawk Down (2001), and American Gangster (2007). This volume divides the chapters into three major thematic groups: responsibility, remembering, and revision; real, alienated, and ideal lives; and gender, identity, and selfhood. Each section features six discrete essays, each of which forwards an original thesis about the film or films chosen for analysis. Each chapter features close readings of scenes as well as broader discussions that will interest academics, non-specialists, as well as educated readers with an interest in films as visual texts. While recognizing Scott's undeniable contributions to contemporary popular cinema, the volume does not shy away from honest and well-evidenced critique. Each chapter's approach correlates with philosophical, literary, or cultural studies perspectives. Using both combined and single-film discussions, the contributors examine such topics as gender roles and feminist theory; philosophical abstractions like ethics, honor, and personal responsibility; historical memory and the challenges of accurately rendering historical events on screen; literary archetypes and generic conventions; race relations and the effect of class difference on character construction; how religion shapes personal and collective values; the role of a constantly changing technological universe; and the schism between individual and group-based power structures. The Culture and Philosophy of Ridley Scott assembles the critical essays of scholars working in the fields of philosophy, literary studies, and cultural studies. An international group, they are based in the United States, Canada, Argentina, Italy, Greece, Korea, the United Kingdom, and New Zealand. The guiding assumption on the part of all the writers is that the filmmaker is the leading determiner of a motion picture's ethos, artistic vision, and potential for audience engagement. While not discounting the production team (including screenwriters, actors, and cinematographers, among others), auteur theory recognizes the seminal role of the director as the nucleus of the meaning-making process. With Scott an active and prolific presence in the entertainment industry today, the timeliness of this volume is optimal.

This book develops the idea of the "Eastern" as an analytically significant genre of film. Positioned in counterpoint to the Western, the famed cowboy genre of the American frontier, the "Eastern" encompasses films that depict the eastern and southern frontiers of Euro-American expansion. Examining six films in particular-Gunga Din (1939), Lawrence of Arabia (1962), Heat and Dust (1983), A Passage to India (1984), Indochine (1992), and The English Patient (1996)-the author explores the duality of the "Eastern" as both aggressive and seductive, depicting conquest and romance at the same time. In juxtaposing these two elements, the book seeks to reveal the double process by which the "Eastern" both diminishes the "East" and Global South and reinforces ignorance about these regions' histories and complexity, thereby setting the stage for ever-escalating political aggression.

Although Juan Domingo Peron's central role in Argentine history and the need for an unbiased assessment of his impact on his nation's cinema are beyond dispute, the existing scholarship on the subject is limited. In recent decades Argentina has witnessed a revival of serious film study, some of which has focused on the nation's classical movies and, in one case, on Peronism. None of this work has been translated into English, however.This is the first English-language book that offers an extensive assessment of Argentine cinema during first Peronism. It is also the first study in any language that concentrates systematically on the evolution of social attitudes reflected in Argentine movies throughout those years and that assesses the period's impact on subsequent filmmaking activity. By analyzing popular Argentine movies from this time through the prism of myth-second-order communication systems that present historically developed customs and attitudes as natural-the book traces the filmic construction of gender, criminality, race, the family, sports, and the military. It identifies in movies the development and evolution of mindsets and attitudes that may be construed as "Peronist." By framing its consideration of films from the Peron years in the context of earlier and later ones, it demonstrates that this period accelerates-and sometimes registers backward-looking responses to-earlier progressive mythic shifts, and it traces the development in the 1950s of a critical mindset that comes to fruition in the "new cinema" of the 1960s. Picturing Argentina: Myths, Movies, and the Peronist Vision is an important book for Latin American studies, film studies, and history collections.

The official novelization of a forthcoming crime film, featuring movie stills and an introduction by producer Jonathan Sothcott George never meant to kill the thief, he was just defending his shop from the jacked up kids who were trying to rob him. Arrested for murder, his world is turned upside down. The next night the doorbell rings, and before George has even opened the door the gang have swarmed into his house--they beat him senseless, rape his wife, and tie them up and set fire to them. Thoughtless, feral Jimmy, George's son, has been dishonorably discharged from the Royal Marines in Afghanistan and is on his way back to London when he gets the news. It isn't long before he's on the trail of the gang who murdered his parents, exacting his own kind of chillingly brutal justice. With the police closing in and his old regiment determined to stop him from airing their dirty laundry on trial, Jimmy goes underground. His actions have created a media frenzy, London's first vigilante of the 21st century. But will his devastating course of action spell the end of the woman he loves?

Ecology and Contemporary Nordic Cinemas uses a range of analytical approaches to interrogate how the traditional socio-political rhetoric of national cinema can be rethought through ecosystemic concerns, by exploring a range of Nordic films as national and transnational, regional and local texts--all with significant global implications. By synergizing transnational theories with ecological approaches, the study considers the planetary implications of nation-based cultural production.

William Wyler (1902-1981) was one of the most honored and successful directors from Hollywood's golden age. One of the film industry's most influential artists, he received three Academy Awards, twelve nominations for his direction and five nominations for his work as a producer. No film director in history has guided more actors to Academy Award nominations (thirty-one). During his fifty-year career, he directed some of Hollywood's most enduring films--among them "Ben-Hur, The Best Years of Our Lives, Funny Girl, Jezebel, The Letter, The Little Foxes, Mrs. Miniver, Roman Holiday, " and "Wuthering Heights."

"William Wyler: Interviews" spans his career and includes three previously unpublished exchanges. Despite the accolades, Wyler has not received the kind of academic and critical appraisal lavished on contemporaries such as John Ford, Orson Welles, Frank Capra, George Stevens, and Billy Wilder. In his later interviews he seems good-natured about this neglect, but it clearly rankled. He dismisses detractors by explaining that he was always interested in trying out new forms, variety being more important to him than mining the same territory.

Right now, you're wondering, "Gee, what kind of information is in this cute yet stylish guide?" Sure, there are a bunch of other books that will take you through the filmmaking process, and if your name is Beaver Cleaver, you might be interested in them.

But you should know that filmmaking is a war, and this book will lead you through it like no other. These pages contain information learned from years spent in the filmmaking trenches.

Anyone with a credit card can rent a camera and buy film stock -- but who can:

• Rent a camera for two weeks and pay for only two days?
• Set the exposure on the camera without a light meter?
• Feed a crew of twenty with yesterday's chicken soup?

Not many.

You want more? Then turn the book over and crack her open.

Still here?

Fine -- we'll do it the hard way: This book will tell you how to shoot a sex scene, tell you what a stinger is. And if you need help writing your script, we'll give you some scenes to copy right into your screen-play -- and yes, we even provide the characters.

In short, everything you need to know about filmmaking in the real world is in this book. Everything. We'll even help you select the proper baseball cap so you can look like a big-time director.

Now start reading. Let's make film history.

Even though horror has been a key component of media output for almost a century, the genre's industrial character remains under explored and poorly understood. Merchants of Menace: The Business of Horror Cinema responds to a major void in film history by shedding much-needed new light on the economic dimensions of one of the world's most enduring audiovisual forms. Given horror cuts across budgetary categories, industry sectors, national film cultures, and media, Merchants of Menace also promises to expand understandings of the economics of cinema generally. Covering 1930-present, this groundbreaking collection boasts fourteen original chapters from world-leading experts taking as their focus such diverse topics as early zombie pictures, post-WWII chillers, Civil Rights-Era marketing, Hollywood literary adaptations, Australian exploitation, "torture-porn" Auteurs, and twenty-first-century remakes.

Who exactly are the Guardians of the Galaxy? Why are the Infinity Stones so important? What's the best order to watch the films in? And are Iron Man and Captain America friends or enemies? If you've ever mixed up the different ?Thor ?movies, or you get confused by which Avengers villain is which, fear not! ?Marvel Studios: All Your Questions Answered? is the book for you - whether you want to take your very first steps into this pop-culture colossus, you have friends who are die-hard Marvel fans and seem to speak in another language, or you just want to have all of the questions answered that you've been dying to ask.

Featuring a sneak peek of the highly anticipated ?Marvel Studios' Avengers: Infinity War?, this friendly companion untangles plots and characters, film by film. Even if you've never seen a Marvel Studios movie, it's hard to miss that the Marvel Cinematic Universe is a really big deal. 10 years' worth of movies, all linked together into a vast, unique and compelling storyline. If you want to find out more but aren't sure where to start, this entertaining, illustrated book breaks down everything in a straightforward and fun way!

© 2018 MARVEL

This examination of the distinctive cinema of Joel and Ethan Coen explores the theme of violence in their wide-ranging body of work. The Brothers Coen: Unique Characters of Violence spans the career of the two-time Oscar-winning producer/director team, exploring the theme of violence that runs through a genre-spanning body of work, from the neo-noir of Blood Simple to the brutal comedy Burn After Reading (2008). In chapters focusing on major characters, Ryan Doom looks at the chaotic cinematic universe of the Coens, where violent acts inevitably have devastating, unintended consequences. The remarkable gallery of Coen characters are all here: hardboiled gangster Tom Regan from Miller's Crossing (1990), overmatched amateur kidnapper Jerry Lundergaard from Fargo (1996), accidental private eye "The Dude" from The Big Lebowski (1998), psychopathic assassin-for-hire Anton Chigurh from the 2007 Academy Award winner No Country for Old Men, and more. Chronology of each of the Coen brothers' 13 major films Photos of major characters from each of the Coen brothers' films under examination.

Considered by critics to be Stanley Kubrick's masterpiece, "Barry Lyndon" has suffered from scholarly and popular neglect. Maria Pramaggiore argues that one key reason that this film remains unappreciated, even by Kubrick aficionados, is that its transnational and intermedial contexts have not been fully explored. Taking a novel approach, she looks at the film from a transnational perspective -- as a foreign production shot in Ireland and an adaptation of a British novel by an American director about an Irish subject. Pramaggiore argues that, in "Barry Lyndon," Kubrick develops his richest philosophical mediation on cinema's capacity to mediate the real and foregrounds film's relationship to other technologies of visuality, including painting, photography, and digital media. By combining extensive research into the film's source novel, production and reception with systematic textual analysis and an engagement with several key issues in contemporary academic debate, this work promises not only to make a huge impact in the field of Kubrick studies, but also in 1970s filmmaking, cultural history and transnational film practice.

Ever since motion pictures first landed on screen, there have been many key questions that the studios and movie watchers have tried to answer. What makes a movie an Oscar winner? How does one movie become a hit and another movie flop? Why do some films earn critical acclaim while other films become critical turkeys or bombs? How do audiences perceive film? What makes a movie resonate with a viewer? Are we unduly influenced by negative behaviors on screen? These questions have spurred debates, discussions, and many theories. Until the last two decades, however, it was quite rare to have the issues approached from a scientific viewpoint. The Social Science of Cinema compiles research from such varied disciplines as psychology, economics, sociology, business, and communications to find the best empirical research being done on the movies, based on perspectives that many filmgoers have never considered. Essays explore such topics as the specific factors that influence whether movies make money, win awards, or flop; how our personality impacts on our viewing preferences; issues of gender inequity on screen; the relationship between visual perception and the way movies are edited; and many more. This book attempts the ultimate act of figuring out the mystery behind the movies - what makes them so memorable to us, what makes them this century's leading works of art, and how this art intersects with the business of making money.