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.

Though he appeared in only six films, James Dean is still frequently discussed some 30 years after his death in an accident at the age of 24. This book provides full production information, plot synopses, review excerpts, and critical commentary for Dean's roles in Fixed Bayonets (1951), Sailor Beware (1951), Has Anybody Seen My Gal? (1952), East of Eden (1955), Rebel Without a Cause (1955), and Giant (1956). It also details his stage, radio, and television work, and includes an extensive annotated bibliography. This comprehensive guide synthesizes the tremendous amount of information available about Dean's life and legacy. Included are chapters on his work in stage, film, radio, and television; entries in each chapter provide production information, plot synopses, review excerpts, and critical commentary about each of his performances. The book also examines his unrealized projects and his survival in various tributes and recordings. An extensive annotated bibliography directs the reader to sources of additional information about Dean's fascinating hold on the American imagination.

Political documentaries are more popular now than ever— Michael Moore's Fahrenheit 9/11 (2004), the top-grossing documentary film of all time, is one of many such recent films. In this incisive book, James McEnteer parses the politics of nonfiction films of recent decades, which together constitute an alternative history to many official stories offered by the government and its media minions. Tracing the origins of an oppositional documentary movement to the Vietnam era, McEnteer shows how a strong independent documentary tradition grew from television's failure to sustain a commitment to the public interest. McEnteer evaluates the work of four artists in depth—the intrepid Barbara Kopple; the puckish but deadly Michael Moore; Errol Morris, a connoisseur of human quirkiness; and anti-Bush crusader Robert Greenwald—and that of other courageous filmmakers, including Barbara Trent (The Panama Deception and Cover-Up: Behind the Iran-Contra Affair). McEnteer looks at the pioneering public affairs documentaries of Edward R. Murrow and Fred Friendly. Their 1950s CBS program, See It Now, won many awards but angered network owners who did not wish to alienate mass TV audiences with controversy. With Murrow's firing, the retreat of television from engaging civic issues in serious ways began in earnest. McEnteer devotes an entire chapter to the many 2004 documentaries made by both sides in that hotly contested presidential election. He concludes with a look at populist antiwar and antiglobalization films of Big Noise and the Guerrilla News Network, whose youthful producers push the boundaries of the documentary form. As mass media fail—now more than ever—to fulfill their watchdog role over public officials and policies, the importance of documentaries committed to telling the truth increases. Such films bear witness to important events otherwise hidden from our view. Their makers dare to refute the falsehoods passing for conventional wisdom, sometimes risking their lives or reputations to reveal the nature of those lies and the interests behind them. As Shooting the Truth clearly shows, documentaries have become an essential component for making sense of our time. This book enlarges our appreciation of contemporary nonfiction films and invites debate on the many issues it raises.

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.

A well argued, comparative study of male jealousy in literature and film, informed by critical theory and engaging with key philosophical figures such as Derrida, Freud and Lacan."Male Jealousy: Literature and Film" is a critical and cultural theory-based study of male jealousy in western culture and its connections with paranoia. By tracing the meanings of jealousy and the representation of jealous men (married or unmarried, heterosexual or homosexual), Lo argues that jealousy is promoted within patriarchy and within what Derrida characterises as logocentricism, where to love is the desire to be loved, and where love cannot be guaranteed in any form of sexual relationship.Contrasting the difference between jealousy and its closely linked concept, envy, this book explores the economy of possession and its relationship to the body, and argues, controversially, that jealousy is an even more modern concept than envy. Informed by critical theory, engaging in particular with Derrida, Deleuze, Freud, Lacan and Kristeva, the study offers close readings of key works by Cervantes, Shakespeare, Proust, Bunuel, Vidor and Almodovar, in which a spectrum of different forms of jealousy are portrayed.

"This collection of essays provides new perspectives on reading, reinterpreting, appropriating and popularising Shakespeare through the work of women - actresses, directors, designers, translators and scholars from different cultural, social and political, mostly non-English speaking, contexts. Raising a wide variety of urgent issues relating not only to Shakespeare but also to the arts, to gender matters, and to postcolonial and ethnic studies, this volume advocates both the illumination of the often neglected, forgotten and rarely appreciated women - who deserve the spotlight of attention on an international level - and the need for revisions in Shakespearean studies, which are dominated by cultural sameness of prevalently male professionals." (Prof. Dr. habil. Bozenna Chylinska, Institute of English Studies, University of Warsaw)

One way to analyze the intensely conflicting feelings Americans hold toward the Vietnam War is to see how the war has been portrayed through film. How the War Was Remembered is the first book to analyze Vietnam War films. Auster and Quart create a typology of these films based on their connection to sociohistorical currents such as the Wounded Hero, Superman, Hunter/Hero, and the Survivor. They also combine aesthetic analysis with a social, historical, and cultural critique. How the War Was Remembered by Albert Auster and Leonard Quart is a full-length treatment of filmic portrayals of the Vietnam War. From Samuel Fuller's China Gate to Francis Coppala's Apocalypse Now they examine the major works of an ever growing genre. The book is divided into four parts. The first deals with the genre, and the other three specific types within the genre. Notes, a bibliography, and an index complete the volume. Communication Booknotes One way to analyze the intensely conflicting feelings Americans hold toward the Vietnam War is to see how the war has been portrayed through film. How the War Was Remembered is the first book to analyze Vietnam War films, beginning with China Gate, and ending with Hamburger Hill. Included are analyses of all the major films about the Vietnam War, including Green Berets, The Deerhunter, Apocalypse Now, The Killing Fields, Rambo, Platoon, and Full Metal Jacket, and others. Auster and Quart create a typology of these films based on their connection to socio-historical currents such as the Wounded Hero, Superman, Hunter/Hero, and the Survivor. They also combine aesthetic analysis with a social, historical, and cultural critique.

Peter Sellers's explosive talent made him a beloved figure in world cinema and continues to attract new audiences. With his darkly comic performances in Dr. Strangelove and Lolita and his outrageously funny appearances as Inspector Clouseau in the Pink Panther films, he became one of the most popular movie stars of his time. Sellers himself identified most personally with the character he played in Being There--an utterly empty man on whom others projected what they wanted, or needed, to see. In this lively and exhaustively researched biography, Ed Sikov offers unique insight into Sellers's comedy style. Beginning with Sellers' lonely childhood with a mother who wouldn't let go of him, through his service in the Royal Air Force and his success on BBC Radio's The Goon Show, Sikov goes on to detail his relationships with co-stars such as Alec Guinness, Sophia Loren, and Shirley MacLaine; his work with such directors as Stanley Kubrick, Billy Wilder, and Blake Edwards; his four failed marriages; his ridiculously short engagement to Liza Minnelli; and all the other peculiarities of this eccentric man's unpredictable life. The most insightful biography ever written of this endlessly fascinating star, Mr. Strangelove is as comic and tragic as Peter Sellers was himself.

Jews have played a constant and diverse role in the growth of cinema and film-making. This unique book provides a catalogue of over 1,200 films about Jews and Jewish history, culture, personalities, and issues. It contains entries that have been collected from a variety of sources worldwide (much of it personal correspondence with film-makers themselves) and there is international coverage of the following genres: documentaries; foreign language films; Hollywood features; film testimony; made-for-television mini-series, dramas, and documentaries; educational/instructional films; and Yiddish cinema. Coverage spans from Wallace McCutcheon's silent two-reeler, "Old Isaac, the Pawnbroker" (1907) to Erwin Leiser's new film, "The Class of 1940/Jahrgang 1940," to be released in 1992. Short, medium, and full-length films and monumental mini-series are included--from Evald SchroM's 12-minute "Psalm/Zalm" to Dan Curtis's 18-hour "War and Remembrance."

The second part of the book provides a section of comprehensive indexes, cross-referencing all films by subject (e.g. Amsterdam, the Catskill mountains, Nazi propaganda films, the Six Day War, Yiddish culture), director, country of production (at least 28, from Argentina to Yugoslavia), and source material (i.e. novels, plays, stories, diaries). The volume also includes a list of Jewish film festivals and useful addresses of archives and institutes, as well as a bibliography. This is an extremely valuable book for filmographers, historians, researchers, students, libraries, institutes, festival programmers, and film buffs.

During World War I, the Catholic church blocked the distribution of government-sponsored V.D. prevention films, initiating an era of attempts by the church to censor the movie industry. This book is an entertaining and engrossing account of those efforts-how they evolved, what effect they had on the movie industry, and why they were eventually abandoned. Frank Walsh tells how the church's influence in Hollywood grew through the 1920s and reached its peak in the 1930s, when the film industry allowed Catholics to dictate the Production Code, which became the industry's self-censorship system, and the Legion of Decency was established by the church to blacklist any films it considered offensive. With the industry's Joe Breen, a Catholic layman, cutting movie scenes during production and the Legion of Decency threatening to ban movies after release, the Catholic church played a major role in determining what Americans saw and didn't see on the screen during Hollywood's Golden Age. Walsh provides fascinating details about the church's efforts to guard against anything it felt might corrupt moviegoers' morals: forcing Gypsy Rose Lee to change her screen name; investigating Frank Sinatra's fitness to play a priest in Miracle of the Bells; altering a dance sequence in Oklahoma; eliminating marital infidelity from Two-Faced Woman; compelling Howard Hughes to make 147 cuts in The Outlaw; blocking the distribution of Birth of a Baby; and attacking Asphalt Jungle for serving the "crooked purposes of the Soviet Union." However, notes Walsh, there were serious divisions within the church over film policy. Bishops feuded with one another over how best to deal with movie moguls, priests differed over whether attending a condemned film constituted a serious sin, and Legion of Decency reviewers disagreed over film evaluations. Walsh shows how the decline of the studio system, the rise of a new generation of better-educated Catholics, and changing social values gradually eroded the Legion's power, forcing the church eventually to terminate its efforts to control the type of film that Hollywood turned out. In an epilogue he relates this history of censorship to current efforts by Christian fundamentalists to end "sex, violence, filth, and profanity" in the media.

This book is an original and highly detailed reference work on Eastern European films and is the first of its kind to provide such a wealth and breadth of information. There is full coverage of over 350 major postwar film-makers from nine countries: Albania, Bulgaria, Czechoslovakia, East Germany, Hungary, Poland, Romania, the Soviet Union, and Yugoslavia.

The entries are listed alphabetically by film director's surname. Each entry includes biographical and career details, a complete list of films made--with dates, original language titles, and recognized English language titles--and an indication of the director's other involvement in the film (as scriptwriter or actor, for example). Also included are co-productions and banned films, many of which have only recently been released. There are two comprehensive indexes: one arranges film-makers by country, the other lists all film titles--nearly 6,000--both in the original languages and in English. The volume also includes a detailed bibliography. It will be of great use to filmographers, students and scholars of Eastern European film, and others interested in the history of film.

Every baby boomer in America knows who that masked man was. He was mysterious and mythic at the same time, the epitome of the American hero: compassionate, honest, patriotic, inventive, an unswerving champion of justice and fair play.

"The biography is as good an introduction to Chaplin's life and films as has been published. The bibliographical essay . . . offers clear and reliable evaluations of the works considered. The filmography carefully lists everyone involved in each Chaplin film." Choice

Melodrama in Contemporary Film and Television debates the ways in which melodrama expresses and gives meaning to: trauma and pathos; memory and historical re-visioning; home and borders; gendered and queer relations; the family and psychic identities; the national and emerging public cultures; and morality and ethics.