The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated and features essays by such respected film critics and scholars as Robin Wood, J.P. Telotte, R. Barton Palmer, and Robert Porfirio. All have as their purpose to explain why and how these classic films work; the way screenplay, direction, acting, cinematography, editing and all the other filmmaking crafts blended together to produce work that exemplifies both a particular movement in film history and the innovations that keep the noir style fresh and compelling.

Departing from the approach of its pre-decessors, this third volume is not a collection of essays by a diverse assembly of critics and scholars but a collection of interviews largely by the book's editors, its focus mainly on directors responsible for many of the land-mark films of the Classic Noir Period. Few of them are alive today, which makes this book all the more remarkable. Appropriately enough, perhaps from beyond the grave thoughts filmmakers expressed long ago are presented here for the first time, to help us better understand their vision and their techniques.

This book begins with seminal essays, several dating back to the 1950s, that uncover the roots of the genre and explain its wide-ranging, indestructible appeal. These writings include, among many others, 'The Horror of It All' by Hollis Alpert and Charles Beaumont, 'The Subconscious: From Pleasure Castle to Libido Motel' by Raymond Durgnat and 'Satisfaction: A Most Unpleasant Feeling' by Roman Polanski. The second part of the book, New Perspectives, focuses on such specific films as Tod Browning's Freaks and The Devil Doll, The Haunting, in both its 1963 and 1999 incarnations, and The Devil and Daniel Webster; and on such sequel-driven characters as Frankenstein's monster and Freddy Kruegar and the Candyman. The scope of the collection is thus surprisingly broad considering as it does the horror film genre from different times, different perspectives, different angles. But the book's purpose is unvarying: to increase our understanding of how these movies succeed (or do not) in making our flesh creep, our skin turn pale and our hair stand on end. Indeed, the stills alone -- about 100 of them -- may occasionally do that.

In the wake of the remarkable success of Film Noir Reader, this new collection further explores a genre of limitless fascination -- and one that continues to inspire and galvanise the latest generation of film-makers. Again heavily illustrated, with close to 150 stills, Film Noir Reader 2 is organised much like the earlier volume. It begins with 'More Seminal Essays', including a New York Times attack on crime pictures, written more than half a century ago, before the French had even given the genre its name; a look at its early development by the noted French director Claude Chabrol; and an analysis, by the American critic Stephen Farber, of how film noir reflects the violence and 'Bitch Goddess' values of contemporary society.

In the 1930s the gangster film in the United States coincided with a very real and very sensational gangsterism at large in American society. Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) borrowed liberally from the newspapers and books of the era. With the release of just these three motion pictures in barely more than a year's time, Hollywood quintessentially defined the genre. The characters, the situations, and the icons-from fast cars and tommy-guns to fancy fedoras and fancier molls-established the audience expectations associated with the gangster film that remain in force to this day. As with their Film Noir Reader series, using both reprints of seminal articles and new pieces, editors Silver and Ursini have assembled a group of essays that presents an exhaustive overview of this still vital genre. Reprints of work by such well-known film historians as Robin Wood, Andrew Sarris, Carlos Clarens, Paul Schrader, and Stuart Kaminsky explore the evolution of the gangster film through the 1970s and The Godfather. Parts 2 and 3 comprise two dozen newer articles, most of them written expressly for this volume by Ursini and Silver. These case studies and thematic analyses, from White Heat to the remake of Scarface to "The Sopranos," complete the anthology.

The Third and most recent edition of The Vampire Film featuring a new chapter, "The Vampire at the Millennium," was released in October 1996 to coincide with the centennial of Stoker's novel Dracula. More vampire films have been produced since the First Edition of The Vampire Film appeared in 1974 than in the entire history of motion pictures prior to that year. The first completely revised and updated edition was published in 1993. The Third Edition, at over 340 pages in length and with well over 200 illustrations, insures that what began as the first book-length study of the subject in 1974 remains the most comprehensive available. The authors, Alain Silver and James Ursini, are continuing their research for future revisions and invite comments from their readers.

This bountiful anthology combines all the key early writings on film noir with many newer essays, including some published here for the first time. Part one reprints eight seminal essays that classify and analyse the period and its product and also offers the initial extensive discussion of film noir in English. In Part Two there are 'case studies' of individual film and film makers. Part Three probes deeper into the question 'What Is This Thing Called Noir?' -- the title of one of the new essays. Other original pieces consider such issues as narrative structure, the femme fatale, the influence of film noir on early television and, finally the rebirth of the genre in the neo-noir films of our own day.

In this essential study of film noir editors Alain Silver and James Ursini select the most significant and influential articles on the movement from their highly respected Film Noir Reader series and assemble them into a single convenient heavily illustrated volume. Still included of course are many rare early articles and such seminal essays as Borde and Chaumeton's Towards a Definition of Film Noir from EPanorama du Film Noir AmericainE Paul Schrader's Notes on Film Noir and Paint It Black: the Family Tree of the Film Noir by Raymond Durgnat. With newer studies such as Lounge Time by Vivian Sobchack Manufacturing Heroines in Classic Noir Films by Sheri Chinen Biesen and Voices from the Deep: Film Noir as Psychodrama J. P. Telotte this collection of over 30 articles probes this most influential American film movement from varying angles: formalist feminist structuralist sociological and stylistic; narrative-thematic historical and even from the point of view of a pure aficionado. There is something in this volume for every student or devotee of film noir. Plus like the readers that have proven an invaluable tool for academics planning a syllabus it can serve as the most complete core text for any of the myriad of film noir courses taught throughout the world.

"The production crew are the footsoldiers of motion picture production, and nowhere is their job better explained than in this competent and comprehensive work". -- Los Angeles Herald Examiner.

The Assistant Director and the Production Manager are essential elements in the smooth operation and successful completion of any film. They oversee and regulate the ever-shifting, day-to-day production activities. This in-depth and thorough study is a must-read for all who contemplate working in these jobs, as well as for all students of film directing and production. Includes detailed, practical discussions of cost reporting, script breakdown, production boards, scheduling, production reports, and much more.

Despite a glut of black and white filters the digital revolution in videography has all but abandoned the art science beauty and power of cinematic lighting that literally illuminated the Golden Age of motion pictures. EFilm Noir Light and ShadowE explores an era before CGI a a time when every photon mattered and the lighting of a set served a grander purpose than simply rendering its subjects visible. Edited by Alain Silver and James Ursini the duo behind numerous critically acclaimed studies of other aspects of noir this anthology presents a series of essays that examine the visual style of the filmmakers of cinema's classic period. Some focus on individual pictures or directors; others discuss elements of style or sub-groups of movies within the movement. All are sharply focused on what makes the noir phenomenon unique in American a and global a cinematic history. Aside from highlighting the innovative work of its editors and their late colleague Robert Porfirio EFilm Noir Light and ShadowE also shares its light with a bevy of contributors who have written and edited their own books on the subject a a list of luminaries that includes Sheri Chinen Biesen Shannon Clute and Richard Edwards Julie Grossman Delphine Letort Robert Miklitsch R. Barton Palmer Homer Pettey Marlisa Santos Imogen Sara Smith and Tony Williams. As befits the topic this volume is lavishly illustrated with 500 images that capture the richness and breadth of the classic period's imagery making it an ideal companion for students of the genre film historians sprocket fiends and the retrospectively inclined.

Film noir is one of the most enduring and popular genres in cinema. But it did not spring up spontaneously fully formed. Rather its origins can be traced to sources as varied as Victorian literature German Expressionism and American art and photography. In this comprehensive collection of essays that's packed with illustrations and artwork a team of eminent scholars and film writers present thorough analyses of the influence of prototypes on the classic period of film noir.THSome essays focus on particularly influential genres such as the rogue cop film and gothic thrillers; while others discuss the choices of individual filmmakers including John Ford and Alfred Hitchcock in their most well-loved films.THThe editors and all of the featured contributors a Sheri Chinen Biesen Todd Erickson Richard Edwards Julie Grossman Robert Miklitsch Homer Pettey Robert Porfirio Tom Ryall Marlisa Santos Jesse Schlotterbeck and Tony Williams a are noted scholars in the field of film noir most of whom have written book-length studies of their own.THFrom the gangster and horror genres to social realism and Hitchcock's spy films of the 1930s EFilm Noir PrototypesE offers compelling accounts of the genre's influences. As befits the topic over 300 illustrations keyed to the text capture the richness and breadth of the classic period's imagery.

"There was something about Robert Aldrich's artistic temperament that enabled him to transcend the apparent vulgarity of so many of his motion picutres. Besides the great films, such as Kiss Me Deadly which is certainly one of the finest examples of film noir, are several little-seen or underrated later works such as the revisionist Western, Ulzana's Raid, the gangster love story, The Grissom Gang, or the grim cop picture, Hustle. Aldrich's career has long deserved the detailed evaluation which this book provides." - Andrew Sarris