This engaging collection of Bruce F. Kawin's most important film essays (1977-2011) is accompanied by his interviews with Lillian Gish (1978) and Howard Hawks (1976). The Hawks interview is particularly concerned with his work with William Faulkner and their friendship. The Gish interview emphasizes her role as a producer in the 1920s. The essays focus on such topics as violence and sexual politics in film, the relations between horror and science fiction, the growth of video and digital cinema and their effects on both film and film scholarship, the politics of film theory, narration in film, and the relations between film and literature. Among the most significant articles reprinted here are "Me Tarzan, You Junk," "The Montage Element in Faulkner's Fiction," "The Mummy's Pool," "The Whole World Is Watching," and "Late Show on the Telescreen: Film Studies and the Bottom Line." The book includes close readings of films from "La Jetee" to "The Wizard of Oz."

Winner of first Prize in the BAFTSS Best Edited Collection competition, this volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to 'undo' or 'subvert' popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

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"Choice" Outstanding Academic Title 2003

"Lyden's book is well-written, insightful, and especially engaging for anyone who loves movies."--"Religious Studies Review"

.,"offers several new perspectives on this increasingly popular and gradually more critical area. It also is wellsuited for the religious studies classroom. Lyden's writing is clear, and he nicely describes some of the more difficult theories of religion in ways that are accessible to undergraduates. In fact, the next time I teach my course "Myth and Ritual on Film" I will assign "Film as Religion" because of its analogizing methods of showing how film does indeed function as religion in contemporary U.S. culture."--"Journal of the American Academy of Religion"

"Lyden offers perceptive criticisms of some of the most influential ways of talking about myth."
-- "Crisis Magazine"

aLyden has articulated a well-defined methodology that relies on some of the best resources religious studies can bring to the table." -- Film Quarterly

"Lyden lays an imrpessive and sound foundation for his vision: to provide a systematic method for connecting religion and film studies. . . . This is truly significant, immensely compelling, and dynamically provocative work. Essential."
--"Choice"

Film as Religion argues that popular films perform a religious function in our culture. Like more formal religious institutions, films can provide us with ways to view the world and values to confront it. Lyden contends that approaches which interpret films only ideologically or theologically miss the mark in understanding their appeal to viewers. He develops an alternativemethod which shows how films can be understood as representing a "religious" worldview in their own right.

Lyden surveys the state of the study of religion and film, offering an overview of previous methods before presenting his own. Rather than seeking to uncover hidden meanings in film detectable only to scholars, Lyden emphasizes how film functions for its audiences--the beliefs and values it conveys, and its ritual power to provide emotional catharsis. He includes a number of brief cases studies in which he applies this method to the study of film genres--including westerns and action movies, children's films, and romantic comedies--and individual films from The Godfather to E.T., showing how films can function religiously.

These essays consider the Godzilla films and how they were shaped (by and in turn shaped) postwar Japanese culture, as well as the globalization of Japanese pop culture icons in the wake of the Godzilla phenomenon. They fall within a wide range of disciplines: film studies, anthropology, history, literature, theater, and cultural studies. Contributors include Susan Napier, Anne Allison, Christine Yano, and others.

"A brief survey cannot do justice to Staiger's rich, rewarding work. The writing style is refreshingly lucid, even while she negotiates complicated ideas and diverse spectator positions."--"JUMP CUT"

"One of the best contemporary American film scholars over the past decade. Janet Staiger points towards new directions which the study of cinema must consider in the coming years."
"--Henry Jenkins, Massachusetts Institute of Technology"

Film and television have never been more prevalent or watched than they are now, yet we still have little understanding of how people process and make use of what they see. And though we acknowledge the enormous role the media plays in our culture, we have only a vague sense of how it actually influences our attitudes and desires.

In Perverse Spectators, Janet Staiger argues that studying the interpretive methods of spectators within their historical contexts is both possible and necessary to understand the role media plays in culture and in our personal lives. This analytical approach is applied to topics such as depictions of violence, the role of ratings codes, the horror and suspense genre, historical accuracy in film, and sexual identities, and then demonstrated through works like "JFK," "The Silence of the Lambs," "The Texas Chain Saw Massacre," "Psycho," and "A Clockwork Orange," Each chapter shows a different approach to reconstructing audience responses to films, consistently and ingeniously finding traces of what would otherwise appear to be unrecoverable information.

Using vivid examples, charting key concepts, and offering useful syntheses of long-standing debates, Perverse Spectators constitutes a compelling case for areconsideration of the assumptions about film reception which underlie contemporary scholarship in media studies.

Taking on widely influential theories and scholars, Perverse Spectators is certain to spark controversy and help redefine the study of film as it enters the new millennium.

The volume offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen.

Films and television dramas about the Second World War have always been popular. Written by acknowledged experts in the field, this collection offers challenging, sometimes controversial, insights into how the popular memory of the Second World War has been "re-pictured" since 1989, which marked the sixtieth anniversary of the start of the war.

"An exploration of the role of emotion and affect in contemporary documentary film, arguing that analysis of the sociality of the emotions is integral to advancing our understanding of the formulation of selfhood in documentary. Belinda Smaill also examines documentary's political function, looking at issues such as gender, ethnicity and class"--Provided by publisher.

Ousselin sets out to show that Europe is essentially a literary fiction and that the ongoing movement towards European unity cannot be understood without reference to the literary works that helped bring it about.

Trash or treasure is a wide-ranging historical study of the British circulation of the video nasties - a term that was originally coined to ban a group of horror videos in Britain in the 1980s but which continues to have cultural resonance in Britain up to the present day. The book is divided into three sections, which represent the key periods of existence of the nasties category - the formation of the term in the 1980s, the fan culture that formed around the nasties subsequent to their banning under the video recordings act and the DVD and theatrical re-release of some of the titles from 1990 onwards. Through an exploration of a range of relevant historical materials (from film reviews to fan websites, to video advertising materials) the book examines how this unusual, historically-specific genre category was formulated in a particular context, and then used (for different reasons) by moral campaigners, distributors, critics and fans. By examining the discourses that inform the circulation of a group of banned films (including the growth of DVD, the internet and the academic rehabilitation of horror films), the book argues that censorship is not just about rules and regulations, but also about the material, cultural and commercial consequences of a censorhsip act of law. It will be of great interest to lecturers and students of film, popular culture and the media, as well as enthusiasts of horror films and those interested in film censorship debates. -- .

The first publication of "Raw Talent" created an extraordinary flurry of publicity. Jerry Butler appeared on dozens of talk shows, capturing audiences with his intensity and charm. Reviews of the book lauded Butler's honesty and remarked on the double standard that permits explicit violence on film - but not explicit sex. The book sold out four printings; nonetheless, reactions within the adult film industry included heated debate and an unofficial blacklisting of Butler. The former star of X-rated films and winner of many awards, Jerry Butler wrote the book that many warned would "finish him" in the business that had rewarded him with money and fame.But it is characteristic of Butler that these warnings didn't prevent him from producing this devastatingly honest appraisal of the adult film trade - and of himself. For, while Butler is frankly critical of an industry that treats actors and actresses like throw-away props, and allows unprotected sex in the age of AIDS, he reserves his most candid commentary for himself. "Raw Talent" tells the story of Butler's erotic voyage from average child to sex star. The epilogue added to this new edition answers the question: where will Jerry go from here?

Between 1936 and 1955, Hollywood significantly changed its portrayal of Hispanics in motion pictures. This change resulted from the demands of the Production Code Administration, which required film makers to eliminate the more offensive stereotypical Hispanic images. This filmography chronicles all of the Hispanic-related films released during this period. The volume includes entries for nearly four thousand films. The entries are arranged in chapters, with each chapter devoted to a single year. Within the chapters, the entries are listed alphabetically by film title. Each entry includes production information, an annotation detailing the film's Hispanic significance, and references to additional materials. The volume concludes with an alphabetical index of film titles, an index of actors and actresses, an index of place names, a general subject index, and an index of songs. Film historians and scholars of Hispanic culture will find this work to be an indispensable reference tool.

This officially licensed, finely detailed light-up collectible replica of the crystal ball from Hogwarts School of Witchcraft and Wizardry's divination class is a perfect gift for fans of the Wizarding World. * SPECIFICATIONS: Mini crystal ball set on an intricately designed elephant base; ball and base are approximately 3 inches tall * LIGHTS UP: Ball illuminates when light switch is turned on * BOOK INCLUDED: Set includes mini book of quotes and behind-the-scenes information from the Harry Potter films, featuring full-color photography throughout * PERFECT GIFT: A unique gift for fans of the wizarding world * OFFICIALLY LICENSED: Authentic collectible

."..the author has identified a significant and little examined subject for study, and displays a deep knowledge of it... Where previously the issue of Polish film and the Holocaust had been addressed in single articles or chapters on the depiction of the Holocaust in particular films, here, for the first time we have a history." Jeremy Hicks, University of London

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's "The Last Stage" (1948) and Aleksander Ford's "Border Street" (1949), and next explores the Polish School period, represented by Andrzej Wajda's "A Generation" (1955) and Andrzej Munk's "The Passenger" (1963). Between 1965 and 1980 there was an "organized silence" regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kie lowski's "Decalogue 8" (1988), Andrzej Wajda's "Korczak" (1990), Jan Jakub Kolski's "Keep Away from the Window" (2000), and Roman Pola ski's "The Pianist" (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.

Marek Haltof is Professor at Northern Michigan University in Marquette. His recent books include the "Historical Dictionary of Polish Cinema" (2007), "Australian Cinema: The Screen Construction of Australia" (in Polish, 2005), "The Cinema of Krzysztof Kie lowski: Variations on Destiny and Chance" (2004), and "Polish National Cinema" (2002).

An annotated filmography of more than 3,000 entries each focusing on the film's Hispanic content, connection, or characters. Four separate indexes, more than 6,000 cross references, and as many film reviews make this work an invaluable reference tool for students, scholars, and individuals interested in studying silver screen stereotyping. This work completes Richard's three-volume documentation of how the domestic and international film industry contributed to stereotyping America's Hispanic community by detailing the contemporary return of the despicable Hispanic character. Employing the broadest conceptual framework to include any individual of Spanish ancestry, this volume outlines how the film industry has homogenized the Latin, the Chicano, Puerto Rican, Cuban, and anyone from Mexico, Central/South America or the Caribbean nations into a despicable Spic (an ethnic enemy) whose negative traits/character have been conditioned by his national origins. The return of the negative image is due to a variety of reasons, and one thing is for certain--it has been profitable for filmmakers. There is no other such reference work presently in print that represents the definitive collection of films with Hispanic themes and connections in any language.

The book in the news : http: //www.movingimagearchivenews.org/books/new/ The DVD embodies a bold experiment in the delivery of film and in the history of film--a contextualized presentation that offers unusual advantages to students of film, to critics and scholars seeking to document its history, and to directors and other creative figures who wish to speak directly to their audiences. This book examines supplementary features created for DVD releases of film as a form of cinematic appreciation and criticism. Drawing on interviews with DVD producers, directors, and scholars, it explores how the format, at its best, combines the enthusiasm of a fan, cinematic nostalgia, and scholarly insight.

This thrilling interactive scrapbook takes readers on a tour of iconic spells and charms, from Expelliarmus to the Patronus Charm, and even the three Unforgivable Curses. Covering everything from protective enchantments and useful jinxes to dangerous spells, it transports us into the magical world of Harry and his friends. With detailed profiles of each spell, hex, charm or curse, and information about key enchantments seen in the films, this is the ultimate guide to the magic practised at Hogwarts School of Witchcraft and Wizardry and far beyond. Cast with the correct wand movement and incantation, the amazing spells seen throughout the Harry Potter films are conjured up in a way that is sure to delight wizards and Muggles alike. Gorgeously illustrated with dazzling concept art, behind-the-scenes photographs and fascinating reflections from actors and film-makers, the scrapbook gives readers a spellbinding insight into bringing charms and spells to the big screen.

Bring some stardust to your card table with 54 of the most influential movie directors and stars, arranged into four suits. Hearts = Romance, Clubs = Drama, Diamonds = Crime, Spades = Sci-fi Includes illustrations of all the big names, from Alfred Hitchcock and Orson Welles to Sofia Coppola and Samuel L. Jackson - plus two jokers: Wes Anderson and Charlie Chaplin.