?He always is very, very close to the camera, and he is terribly inspiring. I don?t know what his magic is, but it is something that makes you want to give everything you have. He has respect for actors and for everybody. A bad director very often doesn?t have that respect.? Liv Ullman's words about Ingmar Bergman hint at the consummate director he was, one who knew the business, the strengths and weaknesses of actors and crews, the arrangement of the set, the framing of the camera, and all other particulars of the fine art of directing. This work presents Bergman's life and work, beginning with his youth in Uppsala, Sweden, and covering his formative years, his development as an artist, and his career as a world-renowned director. A brief synopsis for each of Bergman's films is provided, with such information as producer, screenwriter, cinematographer, editor, art director, music sound credits, running time, casts, Bergman's own comments, and the reactions of critics.

"The power to influence our concept of style lies in the hands of designers in television. Most people today can recognize 'a look' that a character projects. Steed and Emma Peel [of The Avengers] were the first to convey 'a look, ' and their designers should be saluted. At the heart of this book lies the story of how the look came about." -- Madeline Ann Kozlowski, Professor of Drama, University of California, Irvine, and Emmy Award-winning costume designer for Pryor's Place

From the alien worlds of Star Trek to the realistic operating room of ER, the design of sets and costumes contributes not only to the look and mood of television shows, but even more importantly to the creation of memorable characters. Yet, until now, this crucial aspect of television creativity has received little critical attention, despite the ongoing interest in production design within the closely allied discipline of film studies.

In this book, Piers Britton and Simon Barker offer a first analytical study of scenic and costume design for television drama series. They focus on three enduringly popular series of the 1960s-- The Avengers, The Prisoner, and Doctor Who-- and discuss such topics as the sartorial image of Steed in The Avengers, the juxtaposition of picturesque and fascistic architecture in The Prisoner, and the evolution of the high-tech interior of Doctor Who's TARDIS. Interviews with the series' original designers and reproductions of their original drawings complement the authors' analysis, which sheds new light on a variety of issues, from the discourse of fashion to that of the heritage industry, notions of "Pop" and retro, and the cultural preoccupation with realism andvirtual reality.

On June 29, 1908, U.S. Attorney General Charles Bonaparte ordered the creation of a special force within the Department of Justice. Consisting of 28 agents and eight former Treasury Department investigators, it was designed to stop interstate crimes yet had no power to arrest perpetrators or carry firearms. Named the Bureau of Investigation, the agency was soon bogged down with its own inherent ineffectiveness, becoming an object of corruption and contempt - until May 19, 1924. On that date, President Calvin Coolidge appointed John Edgar Hoover to replace the corrupt director. Hard-working with a no-nonsense attitude, Hoover immediately set about reorganizing the bureau, setting a standard that he expected his agents to follow. Hoover, impressed by Hollywood's manner of maintaining an image and manipulating the media, began to use some of these tricks to clean up his agency's image. Thanks in part to his efforts, movies of the 1930s shifted from glorifying outlaws and gangsters to glorifying lawmakers - and who better to play that role than Hoover's new, improved FBI? From crime-busting heroes to enemies of free speech, this volume examines the evolution of Hollywood's portrait of the FBI over the last 75 years. The book looks in-depth at how Hollywood's creative rewriting of history enhanced the FBI's reputation and discusses the historical events that shaped the bureau off-screen, including the various figures who tell the real FBI story - the gangsters, the politicians, the journalists, the communists. The main body of the work examines the filmmakers, actors, technicians, writers and producers who were responsible for FBI films, following the FBI from the birth of a cultural icon in the 1930s, through the spy-busting war years and the threat of the Red Menace, and, finally, to death of Hoover and the scandals of the 1960s. Studio correspondence and once confidential FBI memos are also included.

When Saigon fell in 1975, it signaled the end of America's longest war. Yet in many ways the conflict was far from over. Although the actual fighting ended, the struggle to find political justification and historical vindication for the Vietnam War still lingers in American consciousness after more than three decades. A plethora of images from America's first ""televised war"" has kept the conflict all too fresh in the memories of those who lived through it - and all too familiar for those whose generational gap should allow them to regard the conflict as history. The political process of attaching meaning to historical events has ultimately failed due to the lack of consensus - then and now - regarding events surrounding the Vietnam War. Reviewing a combination of political, social and artistic media, this volume provides a brief overview of the war's appearance in America's political and media culture since 1975. It examines the ways in which this conflict has consistently resurfaced in social and political life, especially in the arena of contemporary world events such as the Soviet misadventure in Afghanistan, the gulf war and the 2004 presidential campaign. To this end, the work explores the contexts and uses of the Vietnam War as a recurring subject. The circumstances and symbolism used through the rhetoric of the political elite and the news media including the ""New York Times"", the ""Washington Post"", ""Time"", and ""Newsweek"" are discussed. Emphasis is also placed on the role of the entertainment-oriented mass media, primarily film and television, which accounts for the most substantial penetration into American culture. Works reviewed are chosen based on social influence rather than critical acclaim.

Alfred Hitchcock made many great films, but he also made many that critics and audiences largely dismissed. These least celebrated films, despite their admitted flaws and relative obscurity, offer much to reward the open-minded viewer. This critical study examines and reappraises fifteen such films generally overlooked by scholars and Hitchcock aficionados: Juno and the Paycock, The Skin Game, Waltzes from Vienna, Jamaica Inn, The Paradine Case, Under Capricorn, I Confess, Torn Curtain, Number Seventeen, Rich and Strange, Secret Agent, Mr. and Mrs. Smith, Stage Fright, The Wrong Man, and Topaz. Each film is discussed and analyzed in detail, revealing the master's touch in many previously unheralded ways. Brief assessments of the films from popular review compendia introduce each one, and excerpted highlights of numerous works of scholarship are liberally sprinkled throughout the text. In addition, wonderful rare still photographs from each film are included. Readers will come away with a richer sense of the director's talents in these films, adding to their appreciation of his work in unexpected ways.

This work features twenty-eight terrific interviews with some of the sharpest and most talkative stars and movie makers of the classic (and c-r-a-z-y!) SF and horror films of the past: Richard Matheson, Janet Leigh, Acquanetta, Hazel Court, Kim Hunter and others. They reminisce at length and with great good humor about their days on the sets of ""Psycho"", ""Planet of the Apes"", ""Superman""; the Poe, Hammer and Lewton films, and exploitation greats like ""Attack of the 50 Foot Woman"".

Born Caroline Louise Dudley, Mrs. Leslie Carter was destined to become one of America's principal turn-of-the century actresses. In 1889, a high profile divorce case labeled her an adulteress and sent her to the brink of poverty. With characteristic resilience, however, Mrs. Carter used infamy to her advantage. Retaining her married name as an act of revenge against her ex-husband, she approached David Belasco, one of the foremost playwrights of the day, and persuaded him to teach her the art of acting. So began one of theatre's most prolific partnerships. Not only did Belasco become Mrs. Carter's acting coach, he composed plays specifically as vehicles to showcase her particular talents. Although their relationship ruptured in 1906, Mrs. Carter continued to enjoy international renown. Weathering the changing times and methods of the early twentieth century, she persevered through stage, silent movies and vaudeville shows. This biography focuses particularly on Mrs. Carter's successful career and on her professional partnership with David Belasco. Spanning a period of radical transformation in American theatre, her career reflected - and endured - the artistic changes, which occurred during the decades on either side of the century mark. Period photographs and theatrical art are included.

Archie Bunker, George Jefferson, Maude - the television sitcom world of the 1970s was peopled by the creations of Norman Lear. Beginning in 1971, with the premier of ""All in the Family"", Lear's work gave sitcoms a new face and a new style. No longer were families perfect and lives in order. Mostly blue-collar workers and their families, Lear's characters argued, struggled, uttered sometimes shocking opinions and had no problem contributing to - or at least, acknowledging - the turmoil so shunned by 1960s television. Significantly, not only did Lear address difficult issues, but he did so through successful programming. Week after week, Americans tuned in to see the family adventures of the Bunkers, the Jeffersons, and Sanford and son. With a thorough analysis of his sitcoms, this volume explores Norman Lear's memorable production career during the 1970s. It emphasizes how Lear's shows reflected the political and cultural milieu, and how they addressed societal issues including racism, child abuse and gun control. The casting, production and behind-the-screen difficulties of ""All in the Family"", ""Sanford & Son"", ""Maude"", ""Good Times"", ""The Jeffersons"" and ""One Day at a Time"" are discussed. Each show is examined from inception through series finale. Interviews with some of the actors and actresses such as Rue McClanahan of Maude and Marla Gibbs from ""The Jeffersons"" are included.

This interdisciplinary volume is dedicated to exploring the idea of the cinematic sublime by bringing together the disciplines of film studies and aesthetics to examine cinema and cinematic experience. Explores the idea of ‘the sublime’ in cinema from a variety of perspectives; the essays range in focus from early cinema, through classical Hollywood, documentary, avant-garde and art cinema traditions, and on to contemporary digital cinema. The book aims to apply the discussion of the sublime in philosophy to cinema and to interrogate the ways in which cinema engages with this tradition. Offers new and exciting insights into how cinema engages with traditional historical and aesthetic discourse. Original and wide-ranging, this clear and coherent volume is a useful resource for both post-graduate students and established scholars interested in the interrelations between film and philosophy. The range of material covered in the individual essays makes this a wide-ranging and very useful introduction to the topic. A significant new contribution to the literature on Film-Philosophy. What sets this reader apart from the existing books on the subject is the wider scope. It embraces both philosophers and film scholars to consider films from throughout film history in light of theories of the sublime from throughout the history of Philosophy. In doing so it aims to demonstrate the diverse value of sublime approaches (versus a singular definition and philosophical perspective) to a wider range of films than has previously been considered.  An original and stimulating collection of essays contributing new insights into the crossover between historical and aesthetic approaches to contemporary cinema and cinematic experience. The main readership will be academic markets including film studies and philosophy, and academics with an interest in the legacies of Burke and Kant on aesthetics. Useful for teaching aesthetics through cinematic illustration and application. Appropriate to final year undergraduate and postgraduate students with an interest in ideas at the boundaries of contemporary film studies.

In a career of more than fifty years?spanning the Golden Era from 1926 to 1976?Hollywood icon John Wayne created a treasure trove of movies. Today, scarcely an hour goes by without one of them appearing on television somewhere in the world. With most of the Wayne films available to his fans today, just a few of them remain unavailable in this era of remastered miracles. Of all the movies he made beyond the 1939 'Stagecoach' age, only two have been kept from the public: 'Island in the Sky' and 'The High and the Mighty.' Many reasons have been suggested for why the two films have been unavailable until the summer of 2005, from the thought that the original films were damaged and the copies were not good enough for additional distribution to the theory that they have been withheld for a future grand release. Whatever the reasons may be, 'The Lost Films of John Wayne' honors his work in both films and servesa as a loving portrayal of some fo the lesser-known images he left behind.

This book explores the idea of nihilism, as introduced by German philosopher Friedrich Nietzsche, through its appearance in modern popular culture. The author defines and reflects upon nihilism, then explores its manifestation in film and television characters, stories, and settings. He surveys these fictional portrayals and makes a distinction between two forms of nihilism: passive life-denial and active self-realization. Among the subjects examined are the award-winning television series ""The Sopranos"" and the film noir genre that preceded and influenced it. Films probed include Orson Welles's masterpiece ""Citizen Kane"", the films of Stanley Kubrick, Neil Jordan's controversial ""The Crying Game"" and Richard Linklater's unconventional ""Waking Life"". Finally, the author considers nihilism in terms of the decay of traditional values in the genre of westerns, mostly through works of filmmaker John Ford. In the concluding chapter, the author broadens the lessons gleaned from these studies, maintaining that the question of the possible meaninglessness of life must be recognized and appreciated before people can overcome its life-negating effects.

A 1906 film called ""The Dream of a Rarebit Fiend"" shows a man drinking and eating voraciously at a restaurant, then going home to bed. In the surreal scenes that follow, furniture disappears, tiny devils poke the man's head with pitchforks, and his bed hurls itself out the window and across the city. But it wasn't commentary on drinking; rather, it was a showcase of early special effects - double exposure photography, panning shots, and montage. Turn-of-the-century films typically treated drinking as a subject for comedy and ridicule, and the comic possibilities translated well into silent movies. As talkies developed and the film industry matured, alcohol's portrayal was reflected in the times: prohibition, the Great Depression, the war years, and as social commentary. Here is a study of 64 years of alcohol as portrayed in film. The author begins with the appearance in 1898 of what is probably the first commercial: a 30-second film of men in kilts dancing and the words ""Scotch Whiskey"" appearing in the background. The final film is 1962's ""Days of Wine and Roses"", which addresses alcoholism. The author includes a film from each decade, those with artistic or historical value, those that represent the comedy, drama and musical genres, and wellknown pictures such as ""The Lost Weekend"" and ""A Star is Born"". The first three chapters cover 1903 to 1939. The remaining chapters follow not a timeline but the growing complexity of the movies. A recurring motif is the use of the term ""white logic,"" a phase used by writer Jack London in his 1913 memoir John Barleycorn. It refers to disillusionment with everyday life brought on by and exacerbated by alcohol. An annotated filmography lists the date, source and other relevant information about movies in this study.

Discover the work of Aubrey Beardsley, a complex and intriguing artist who shocked and delighted late-Victorian London Aubrey Beardsley (1872&1898) is best remembered for his powerful illustrations for Salome by Oscar Wilde. Spanning just seven years, his intense, prolific career as a draftsman and illustrator was cut short when he died at the age of 25. His subversive black-and-white drawings and his complex persona became synonymous with decadence: He alighted on the perverse and erotic aspects of life and legend, shocking audiences with his bizarre sense of humor and fascination with the grotesque. His keen observation of his contemporaries makes him of his time, but his distinct style has resonated with subsequent generations. A major influence on the development of Art Nouveau, and on psychedelic pop culture and design in the late 1960s, Beardsley&s drawings remain a key reference for many artists today. Here, short essays on aspects of Beardsley&s remarkable career complement reproductions of his fascinating work.

From the time Westinghouse started commercial broadcasting in 1920 through the end of the radio soap operas in the early 1960s, hundreds of men and women performed on radio. Day after day, week after week, these performers (e.g., Jack Benny, Bing Crosby, Kate Smith, Lowell Thomas, Kay Kyser, and Bob Hope) became familiar voices and welcomed guests in the homes of millions of Americans. Actors, comedians, singers, commentators, announcers, emcees, newscasters, preachers and various other artists all gave voice to radio and 953 of them are covered in this unique reference work. Performers Fran Allison, Les Paul, Johnny Desmond, Alec Templeton, Don Wilson, Jerry Colonna and soap opera favorites Virginia Payne, Betty Garde, Macdonald Carey, David Gothard, Page Gilman, and Jan Miner are included herein, as well as Ezra Stone, Groucho Marx, Will Rogers, and Frank Sinatra and hundreds more. For each, there is a listing of their radio programs, birth and death dates (where appropriate) and a biography that focuses on their work in radio. It is heavily illustrated.

From inauspicious beginnings in the kinetoscope parlors and nickelodeons to the movie palaces of the golden era, and finally to the pared down multiplexes of today, this is the history of motion picture viewing in the nation's capital and vicinity. The research is supported by numerous interviews. The book includes a 200-page listing of all the movie theaters in the area past and present, with data such as location, dates of operation, architect, and seating capacity, as well as a summary of each theater's history and current status. Maps, drawings and photographs (most of which have never before been published) round out this comprehensive study.

Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including ""The Lady Slavey"", ""Miss Prinnt"", ""Higgledy Piggledy"", ""The Man in the Moon"", and ""Tillie's Nightmare"". She starred with Charlie Chaplin in the first ever feature-length comedy ""Tillie's Punctured Romance"" and later in ""Min and Bill"" for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.

Beloved British humorist P.G. Wodehouse produced a wealth of literature in his lengthy career, contributing novels, short stories, plays, lyrics and essays to the canon of comic writing. His work in film and television included two stints as a screenwriter, and his stories have been the basis for more than 150 film and television productions. He also wrote several novels and essays about Hollywood, often satirizing the city and its entertainment magnates. This book studies P.G. Wodehouse's extensive, but often overlooked, relationship with Tinsel Town. The book is arranged chronologically, covering Wodehouse's Hollywood career from his early efforts in silent film, to his later contributions in television, to his work adapted posthumously for the screen. It includes a discussion of his internment in occupied France and how his brief appearances on German radio, which he intended as a way of communicating with concerned fans in America, led to his forced separation from his homeland and his assumption of American citizenship in 1955. Reflecting Wodehouse's international appeal, the book cites both British and American sources and explains differences between international anthologies, performances and broadcasts of his work. Also included are a comprehensive, detailed list of Wodehouse's stories and articles about Hollywood, and a complete filmography of motion picture and television works to which he contributed or which were based on his stories.

Though Elvis Presley's music is widely credited as starting a sea change in American popular culture, his films are often dismissed as base marketing vehicles, commercially successful but insignificant. Beyond the formulaic plotlines and increasing reliance on weak songs, however, the films - and Elvis - serve as profound cultural touchstones, revealing changing American aesthetics more than a changing Elvis. Elvis's rebel image in 1956, as a guitar-swinging incarnation of Brando or Dean, had by 1969's Change of Habit become safe and sterile. This work demonstrates how Elvis, through his films, reflected a shifting social, cultural and political landscape in America. Encompassing all 31 movies and two 1970s documentaries, it provides a film-by-film study of Elvis Presley and America, and argues that each film reflects the society for which it was made. Throughout his career, most of Elvis's characters combined rebellion with wholesome, traditional ideals, but the public's perspective changed, and what was considered radical in 1954 was called reactionary by 1970. Studied sequentially, his films reflect those cyclical ideals, and unconsciously portray America's process of renewal and redefinition of self.

The winter of 1917-18 found the United States in a general upheaval. A large percentage of the world's population was at war and the United States itself was fully occupied with an unprecedented mass mobilization of its military forces, which were rushing headlong into an era of modern warfare. It was in this setting that the Liberty Theatres were opened. Created by the War Department's Commission on Training Camp Activities, these theatres aimed to produce ""morally uplifting"" plays and movies as a form of entertainment for thousands of troops - ideally proving more effective than policing the camps. In actuality, however, Liberty Theatres became little more than public relations ploys. Ultimately, although the theatres endeavored to provide a constructive form of recreation and diversion, they - and CTCA - fell far short of what had been promised. Compiled from a variety of government documents, camp newspapers and entertainment trade journals, this volume provides an in-depth look at the 42 Liberty Theatres created by the War Department during 1918 and 1919. It discusses the way in which these theatres were designed and run, as well as the relationship between CTCA's somewhat idealistic leaders and the theatrical professionals who handled this day-to-day operation. Setting the military and the American theatre within their respective historical contexts, the book also explores the role of Liberty Theatres with regard to both entities. Appendices contain a listing of Liberty Theatre opening and closing dates; Liberty Theatre expenses; gross receipts and estimates of attendance; and the average weekly receipts of Liberty Theatres.

On January 24, 1897, an event took place that would change Cuban culture forever: the first moving pictures were shown in Havana. A couple of weeks later, on February 7, the first movie was filmed on the island. Since then, cinematography and Cuba have shared peculiar and innate connections, as their beginnings roughly coincide and Cubans are living in both the age of independence and revolution and the age of film. This work is a filmography of every Cuban film (including documentaries, shorts and cartoons) released from 1897, the first year films were shown and made in Cuba, through 2001. Each entry gives the original title of the film, the English translation of it, director, production company or companies, year of release, black and white or color, total running time, writing credits if the film is based on a story or novel, animation credits if the film is a cartoon, music credits if music has been written specifically for the film, cast credits, and a synopsis and short critical evaluation. The work also provides comments on the relationship between Cuban film and history, and the changes that have taken place over the years in themes, topics, methods, and other aspects of filmmaking in Cuba.

Alcoa Presents: One Step Beyond made its television debut in 1959, nine months before Rod Serling's classic ""The Twilight Zone"", and paved the way for a generation of television programs devoted to paranormal topics such as the occult, ESP, and ghost stories. ""One Step Beyond"" was also where some of Hollywood's most famous leading men, including Warren Beatty, William Shatner, and Charles Bronson, got their starts in television. This complete reference work to the 96 half-hour episodes that ran for three seasons on ABC also offers a detailed history, extensive commentary and summaries of the critical reception of ""One Step Beyond"" as well as coverage of the sequel series produced in 1978 entitled ""The Next Step Beyond"". Complete credits for both series are provided.

Director Fred Zinnemann was one of the most honored and revered directors of Hollywood's golden age. Peter Ustinov said, "Working with him was a permanent lesson in integrity." Zinnemann will always be remembered for such award-winning classics as High Noon, From Here to Eternity and A Man for All Seasons, and for his direction of such stars as Marlon Brando, Montgomery Clift, Rod Steiger, Spencer Tracy, Gary Cooper, Burt Lancaster, Audrey Hepburn, Robert Mitchum, Jane Fonda, Meryl Streep and Sean Connery. Above all, he deserves to be appreciated for raising the intelligence of popular cinema, making individualist dramas of conscience that could appeal to mass audiences without condescending to them and without compromising the director's vision. This book, the first single-author survey of Zinnemann's career, draws on the author's personal interviews with Zinnemann and reveals the coherence and subtlety of the director's work. The first part of the book deals with Zinnemann's struggle to make films of his own choosing in his own way, up to his breakthrough with The Search. The remainder of the text discusses Zinnemann's post-Search films according to major themes, including the ravages of war, the "sovereignty of selfhood," character as destiny, the outsider in society, and politics and the liberal conscience. A list of Zinnemann's awards is provided.

As film and television become ever more focused on the pornographic gaze of the camera, the human body undergoes a metamorphosis, becoming both landscape and building, part of an architectonic design in which the erotics of the body spread beyond the body itself to influence the design of the film or televisual shot. The body becomes the mise-en-scène of contemporary moving imagery. Opening The Space of Sex, Shelton Waldrep sets up some important tropes for the book: the movement between high and low art; the emphasis on the body, looking, and framing; the general intermedial and interdisciplinary methodology of the book as a whole. The Space of Sex’s second half focuses on how sex, gender, and sexuality are represented in several recent films, including Paul Schrader’s The Canyons (2013), Oliver Stone’s Savages (2012), Steven Soderbergh’s Magic Mike (2012), Lars Von Trier’s Nymphomaniac (2013), and Joseph Gordon-Levitt’s Don Jon (2013). Each of these mainstream or independent movies, and several more, are examined for the ways they have attempted to absorb pornography, if not the pornography industry specifically, into their plot. According to Waldrep, the utopian elements of seventies porn get reprocessed in a complex way in the twenty-first century as both a utopian impulse—the desire to have sex on the screen, to re-eroticize sex as something positive and lacking in shame—with a mixed feeling about pornography itself, with an industry that can be seen in a dystopian light. In other words, sex, in our contemporary world, still does not come without compromise.

Kenneth Strickfaden, innovative genius of illusionary special effects from silent films to the age of television, set the standard for Hollywood's mad scientists. Strickfaden created the science fiction apparatus in more than 100 motion picture films and television programs, from 1931's Frankenstein to the Wizard of Oz and The Mask of Fu Manchu to television's The Munsters. The skilled technician, known around Hollywood's back lots as ?Mr. Electric, ? once doubled for Boris Karloff in a dangerous scene and was nearly electrocuted. From his birth in 1896 to his death in 1984, Strickfaden's life was filled with adventure. He spent his early years working the amusement parks on both coasts, served overseas as a Marine during World War I, took a 1919 cross-country trip in a dilapidated Model T, and favored risky pursuits like automobile and speedboat racing. He worked as an aeronautical mechanic, constructing airplanes for an historic around-the-world flight. A science teacher at heart, he gave 1,500 traveling science demonstration lectures across the U.S. and Canada. Besides covering Strickfaden's entire personal and professional life, this book discusses how later films show his influence. It reveals the fate of his collection of equipment, and is richly illustrated with numerous rare and previously unpublished photographs. Appendices provide a selection of notes, doodles, and scribbles from Strickfaden's notebooks, informal sketches, correspondence, documents, a chronology of his film and television contributions, a bibliography, a film index, and a complete subject index.