For fans of big-screen monster films, KAIDA Yuji is a very well known name. Best known for his vivid illustrations of Godzilla and other popular Toho kaiju, some of Mr KAIDA's most beautiful work is presented here in this full-color flexicover volume. This book's 128 pages are packed with lush artwork, including a brand new piece showing Godzilla in London, created especially for this book.Whether you are an admirer of this Japanese master's work or just a fan of monster movie art, this book is an essential purchase!

Propaganda--so crucial to winning the battle of hearts and minds in warfare--witnessed a transformation during World War II, when film was fast becoming the most popular form of entertainment.In Film Propaganda in Britain and Nazi Germany, Jo Fox compares how each country exploited their national cinema for political purposes. Through an investigation of shorts and feature films, the author looks at how both political propaganda films and escapist cinema were critical in maintaining the morale of both civilians and the military and how this changed throughout the war. While both countries shared certain similarities in their wartime propaganda films - a harking back to a glorious historic past, for example - the thematic differences reveal important distinctions between cultures.This book offers new insight into the shifting pattern of morale during World War II and highlights a key moment in propaganda film history.

Visions of England is a provocative and original exploration of Englishness, in particular English class, in contemporary cinema. Class has been a central part, whether consciously or not, of much of English social analysis and artistic production for over a century. But as a way of interpreting society, class has found itself sidelined in a postmodern world. Visions of England presents a detailed analysis of the changing landscape of English class and culture. Visions of England explores a wide range of film production - from gangster thrillers like Lock, Stock Two Smoking Barrels to the period cinema of Elizabeth, from cult classics like Performance and Trainspotting to the mainstream romantic comedy of Notting Hill and Bridget Jones, from the social realist drama of Billy Elliot and The Full Monty to the multicultural comedy of Bend it like Beckham, and the experimentalism of films such as London Orbital and Robinson in Space. An extraordinarily wide-ranging and incisive study, Visions of England rewrites the relationship of film and Englishness.

Do you have a movie you want to make? Or a screenplay that you want produced? Are you going to pitch a project to a studio executive, producer, name actor or private investor? Pitching means asking producers, name actors, and studio executives for help. After gaining funds for a number of projects (one film went to the Cannes film market), Marcoux has compiled what worked and what didn't into this book. Much of it builds on his observations of dire mistakes, his own and others'. He alerts you to countermeasures to problems that pop up and how to solve them. Avoid the traps. When it comes to the vital skill of pitching your ideas, enrolling others into your vision, this book shows you the way. . . . Praise for this Book: "This insightful book shows you how to zing a curveball right past the parts of the Hollywood exec's brain that want to say no before you even make your pitch. In these pages you will learn what works when pitching, and more importantly, why, so you can get to YES much more often. Buy this book now. Consider it Spring Training before the big game." - Danek S. Kaus, produced screenwriter, author of You Can Be Famous: Insider Secrets to Getting Free Publicity "Tom Marcoux is one of the most persuasive people I know. He provides research-based methods so that you can get people to say 'Yes ' to your project. Get this book. It's a Must Read. I have hired Tom as my media coach and I'm thrilled with the results I've gained." - Dr. JoAnn Dahlkoeter, coach to CEOs and Olympic Gold Medalists "Tom gives you powerful methods so you easily gain rapport, trust, and active responsiveness from important people." - David Barron, coauthor of Power Persuasion . . . . Praise for Tom Marcoux's Previous Books in the Film/Television Series: * "'Darkest Secrets of Film Directing' is a great course on the art and craft of film directing. It's especially helpful that Tom Marcoux reveals some important pitfalls you need to avoid." - Danek S. Kaus, Produced Screenwriter * "'Darkest Secrets of the Film and Television Industry Every Actor Should Know' gives you the toolkit from acting skills to self promotion Even learn to produce a video for YouTube or webisodes. As an actress, I really value this information. Read the book and use the information " - Carole Wilkinson, actress About Tom Marcoux as a Film Director: "When casting, film director Tom Marcoux's acting and improvisation skills shine as he works with actors." - Daniel Buhlman, film director and actor "Tom treats cast and crew with great respect. His support helped me express the truth in my scenes." - David MacDowell Blue, actor, screenwriter and author of The Annotated Carmilla.... Tom Marcoux won a special award at the Emmys. He wrote, directed, produced and acted in a feature film that went to Cannes film market, where it gained international distribution. He is engaged in the graphic novel/feature film (series) projects Crystal Pegasus (children's), TimePulse (science fiction) and Jack AngelSword (fantasy-thriller). Tom Marcoux helps people like you fulfill big dreams. As America's Communication Coach and TFG* Thought Leader, Tom has authored 22 books with sales in 15 countries. One of his books rose to #1 on Amazon.com Hot New Releases. Tom also guides clients and audiences (IBM, Sun Microsystems) to success in public speaking, media relations, and branding. As a member of National Speakers Association, he is a coach and guest expert on TV, radio, and print, and was dubbed "the Personal Branding Instructor" by the San Francisco Examiner. Tom addressed six National Assoc. of Broadcasters' Conferences. With a degree in psychology, Tom is a guest lecturer at Stanford University & Calif. State Univ., & teaches public speaking, business communication & comparative religion at Academy of Art University. Using Tom's public speaking methods, one graduate students won the Charles Schwab Scholarship. Visit Tom's blog at www.BeHeardandBeTrusted.com. T

"For more than half a century now, scholars have debated over what comprises a genuinely religious film one that evinces an authentic manifestation of the sacred. Often these scholars do so by pitting the successful films against those which propagate an inauthentic spiritual experience with the biblical spectacular serving as their most notorious candidate. This book argues that what makes a filmic manifestation of the sacred true or authentic, may say more about a spectator or critics particular way of knowing, as influenced by alphabetic literacy, than it does about the aesthetic or philosophical and sometimes even faith-based dimensions of the sacred onscreen. Engaging with everything from Hollywood religious spectaculars, Hindu mythologicals, and an international array of films revered for their transcendental style, The Sacred and the Cinema unveils the epistemic pressures at the heart of engaging with the sacred onscreen. The book also provides a valuable summation of the history of the sacred as a field of study, particularly as that field intersects with film. "

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?

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. Films like "Y Tu Mama Tambien, El Mariachi, Amores Perros," and the work of icons like Guillermo del Toro and Salma Hayek represent much more than resurgent interest in the cinema of Mexico. In "Screening Neoliberalism," Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. Far from just a history of the period, "Screening Neoliberalism" explores four deep transformations in the Mexican film industry: the decline of nationalism, the new focus on middle-class audiences, the redefinition of political cinema, and the impact of globalization. This analysis considers the directors and films that have found international notoriety as well as those that have been instrumental in building a domestic market. "Screening Neoliberalism" exposes the consequences of a film industry forced to find new audiences in Mexico's middle-class in order to achieve economic and cultural viability.

Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.

This book offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of "family resemblance and language games" provide a dynamic perspective on the analysis of acts of reference. He then develops a hyper-simplified formula of "movement as meaning" to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery's concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.