(Applause Books). In the year 2002, An Askew View: The Films of Kevin Smith was the first book to gaze at the cinema of one of New Jersey's favorite sons, the independent and controversial auteur of Clerks (1994), Mallrats (1995), Chasing Amy (1997), Dogma (1999) and Jay and Silent Bob Strike Back (2001). Now, a full decade after that successful original edition, award-winning author John Kenneth Muir returns to the View Askewniverse to consider Kevin Smith's second controversial decade as a film director, social gadfly, and beloved media "talker." From Jersey Girl (2004) to the controversial Zack and Miri Make a Porno (2008), from the critically derided Cop-Out (2010) to the incendiary and provocative horror film Red State (2011), An Askew View 2 studies the Kevin Smith movie equation as it exists today, almost two full decades after Smith maxed out his credit card, made Clerks with his friends, shopped it at Sundance, and commenced his Hollywood journey. In addition to Kevin Smith's films, An Askew View 2 remembers the short-lived Clerks cartoon (2000) and diagrams the colorful Smith Lexicon.

I want my films to explode with life. aMira Nair. This the first book to examine the films of the acclaimed and popular Indian-born and Harvard educated filmmaker Mira Nair. A unique voice in cinema today she is one of the few female directors who made it to the top of a male-dominated profession. Her films feature an incomparably sensuous visual style yet at the same time often record the injustice of the disenfranchised and the cross-pollination of East and West. Her twin themes of realism and romance make for dazzling cinema.THJohn Kenneth Muir analyzes all of Nair's work including:THU ESalaam Bombay!E (1988) the groundbreaking story of a young boy abandoned by his family on the streets of Bombay.THU EMississippi MasalaE (1991) an interracial small town romance between an Indian woman (Sarita Choudhury) and an African American businessman (Denzel Washington).THU EMonsoon WeddingE (2001) featuring a Bollywood carnival atmosphere one of the most successful foreign films ever released in the United States.THU EHysterical BlindnessE (2002) the HBO film featuring Uma Thurman and Juliette Lewis looking for love in all the wrong places.THU The big-budget Hollywood adaptation of the Thackery novel EVanity FairE (2004) starring Reese Witherspoon Gabriel Byrne and Eileen Atkins.

EBest in ShowE is the first in-depth look at the method behind film director and actor Christopher Guest's madness a and genius. John Kenneth Muir focuses his attention on the acclaimed Guest-directed trilogy of what some call mockumentaries : EWaiting for GuffmanE EBest in ShowE and EA Mighty WindE. In these films Guest has escorted rapt audiences into the purportedly real worlds of a small-town theatrical company dog show competition and folk music festival. Muir also details the events that lead to Rob Reiner's influential and legendary EThis Is Spinal TapE which ERolling StoneE called the best rock and roll movie of all time and in which Guest played the part of guitarist Nigel Tufnel.THMuch of EBest in ShowE exemplifies the unique process by which Guest directs films. He employs a common repertory company improvises scenes often without any rehearsal and does not use any screenplay with dialogue instead following a detailed outline often co-authored with his ace actor/writer Eugene Levy. Company members that have been interviewed for this book include Fred Willard Harry Shearer Bob Balaban and Michael Hitchcock.THGuest's influences a ESaturday Night LiveE ENational LampoonE a as well as his more conventional comedies such as EThe Big PictureE and EAlmost HeroesE are studied. EBest in ShowE is general enough to bring new fans to the table yet detailed enough to satisfy the most in-the-know Guest fan and film student. A complete filmography with Guest's directing acting and writing credits is included as is the appendix You Know You're in a Christopher Guest Film When ... THGuest once commented I am drawn to people who have dreams that are slightly out of reach. Now thanks to John Kenneth Muir the fascinating world of Christopher Guest and company is substantially more within reach.

The life and work of legendary cult-film director Sam Raimi Raimi has three film in production/post-production for 2004-5 release Film historian and popular writer JK Muir turns his attention to the life and work of legendary cult-film director Sam Raimi who exploded onto the movie scene in 1982, when he was 23, with the audacious, independently produced horror film The Evil Dead. There were two Evil Dead sequels, the critically acclaimed A Simple Plan starring Billy Bob Thornton (1999), The Gift starring Kate Blanchett (2000), and in 2002 Raimi's Spider-Man had the biggest opening weekend in film history - netting USD114 million at the box office. The Unseen Force also features a sneak peek at the much-anticipated Spider-Man 2. Raimi's influence on other filmmakers continues to be enormous - from the "shaky cam" shots of the Coen brothers to the early oeuvre of Lord of the Rings director Peter Jackson, both of whom have been termed the "direct progeny" of Raimi's works.

(Applause Books). When CLERKS opened at cinemas across the country in 1994, it took everyone, especially the film industry, by surprise. Filmed on a shoestring budget after hours at a convenience store, it was crude (in technique and language), realistic and, above all, hilarious. The movie's nationwide success helped launch the indepedent film boom of the 1990s and catapulted its director, Kevin Smith, to full-fledged stardom. Smith's work is explored in AN ASKEW VIEW, the first ever study of his films. John Kenneth Muir examines all of Smith's movies. including MALLRATS, CHASING AMY, and the hugely controversial and variously interpreted DOGMA. Muir discusses Smith's themes and obsessions in depth: his New Jersey boosterism, the cast of characters that pop in and out of all of his films, and the references to STAR WARS and other icons of pop culture. AN ASKEW VIEW is a fascinating and detailed history of the art of this visionary filmmaker, New Jersey's favorite local-boy-makes-good since Bruce Springsteen.

This edition first published in 1979. Discussing Shakespeare's sonnets in relation to sonnets by Italian, French and English poets, Kenneth Muir shows how they were influenced by Shakespeare's reading of Sidney, Erasmus and Ovid and discusses their art in terms of construction, sound patterns and imagery. He considers the relationship of the sonnets to Shakespeare's dramatic writing, while stressing the dramatic element in the sonnets themselves. Finally he surveys the changing attitudes to the sonnets during the last three centuries.

First published in 1977. This book ascertains what sources Shakespeare used for the plots of his plays and discusses the use he made of them; and secondly illustrates how his general reading is woven into the texture of his work. Few Elizabethan dramatists took such pains as Shakespeare in the collection of source-material. Frequently the sources were apparently incompatible, but Shakespeare's ability to combine a chronicle play, one or two prose chronicles, two poems and a pastoral romance without any sense of incongruity, was masterly. The plays are examined in approximately chronological order and Shakespeare's developing skill becomes evident.

First published in 1957. This book finds discovers what the sources to Shakespeare's Comedies and Tragedies really were, considers the dramatic reasons for Shakespeare's departure from them and provides many examples of the way in which he made use of his general reading for particular scenes and speeches. Kenneth Muir shows that Shakespeare frequently uses more than one source and sometimes as many as eight.

This edition first published in 1960. This book discusses the extent of Shakespeare's collaboration in the plays of Edward III, The Two Noble Kinsmen, Pericles and the lost Cardenio. It includes chapters on the dramatic value of the plays irrespective of authorship.

First published in 1937. This study argues that the plays of Shakespeare must be studied by comparison with each other and not as separate entities; that they must be related to one another, to the poems and to the Sonnets; that each individual play acquires a deeper significance from its setting in the corpus. Muir and O'Loughlin's critical analysis takes place against the personality of Shakespeare, asserting that that despite all their diversities a single mind and a single hand dominate them and that they are the outcome of one man's critical and emotional reactions to life.

First published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune.

First published in 1980. This collection of essays by the first General Editor of the New Arden Shakespeare brings together the best of Ellis-Fermor's Shespearean criticism, in addition to outstanding essays on Coriolanus and Troilus and Cressida. Collected and edited by Kenneth Muir, the book is prefaced by an appreciation of Ellis-Fermor's work.

First published in 1961. On her death, Professor Ellis-Fermor left behind some uncollected essays and part of a book on Shakespeare the Dramatist. This volume includes the chapters of the unfinished work and three further articles on Shakespeare. It discusses Shakespeare's methods with regard to plot, character, diction, and imagery and it contains comparative analysis of Shakespeare with other dramatists, including Ibsen and Corneille.

Originally published in 1970, this title starts with an introduction, in which Professor Muir distinguishes between the Comedy of Manners and other types of comedy and traces its origins in English and French literature, there are then chapters on the major writers - Etherege, Dryden, Wycherly, Congreve, Vanbrugh, Farquhar - and on Jeremy Collier's attack on the immorality and profaneness of the plays. This is followed by a discussion of the reasons for the decline of comedy in the eighteenth century and an account of its revival by Sheridan and, belatedly, by Wilde. Professor Muir takes issue with a number of recent critics on the dramatic value of the plays.

Originally published in 1984. With selections organised chronologically, this collection presents the best writing on one of Shakespeare's most studied plays. The structure displays the changing responses to the play and includes a wide range of criticism from the likes of Coleridge, Hazlitt, Moulton, Granville-Barker, Orwell, Levin, Stampfer, Gardner and Speaight interspersed with short entries from Keats, Raleigh, Freud and others. The final chapter by the editor elucidates his own thoughts on Lear, building on his commentary in the Introduction which puts the collection in context.

First published in 1937.
This study argues that the plays of Shakespeare must be studied by comparison with each other and not as separate entities; that they must be related to one another, to the poems and to the Sonnets; that each individual play acquires a deeper significance from its setting in the corpus. Muir and O'Loughlin's critical analysis takes place against the personality of Shakespeare, asserting that that despite all their diversities a single mind and a single hand dominate them and that they are the outcome of one man's critical and emotional reactions to life.

First published in 1961. On her death, Professor Ellis-Fermor left behind some uncollected essays and part of a book on Shakespeare the Dramatist. This volume includes the chapters of the unfinished work and three further articles on Shakespeare. It discusses Shakespeare's methods with regard to plot, character, diction, and imagery and it contains comparative analysis of Shakespeare with other dramatists, including Ibsen and Corneille.

This edition first published in 1960. This book discusses the extent of Shakespeare's collaboration in the plays of Edward III, The Two Noble Kinsmen, Pericles and the lost Cardenio. It includes chapters on the dramatic value of the plays irrespective of authorship.

First published in 1957. This book finds discovers what the sources to Shakespeare's Comedies and Tragedies really were, considers the dramatic reasons for Shakespeare's departure from them and provides many examples of the way in which he made use of his general reading for particular scenes and speeches. Kenneth Muir shows that Shakespeare frequently uses more than one source and sometimes as many as eight.

First published in 1977.
This book ascertains what sources Shakespeare used for the plots of his plays and discusses the use he made of them; and secondly illustrates how his general reading is woven into the texture of his work. Few Elizabethan dramatists took such pains as Shakespeare in the collection of source-material. Frequently the sources were apparently incompatible, but Shakespeare's ability to combine a chronicle play, one or two prose chronicles, two poems and a pastoral romance without any sense of incongruity, was masterly. The plays are examined in approximately chronological order and Shakespeare's developing skill becomes evident.

The sound of chainsaws revving on 'haunted' Halloween trails has evoked untold screams since Tobe Hooper's 1974 ""The Texas Chainsaw Massacre"" hit the cinemas. Since that first take-no-prisoners horror movie, Hooper's reputation as a master of horror has been secured by his adaptations of Stephen King (""Salem's Lot"", 1978, and ""The Mangler"", 1995), his blockbuster breakthrough ""Poltergeist"" (1982) and a variety of cult hits, from the underrated ""Lifeforce"" (1985) to the remake of ""Invaders from Mars"" (1986). This reference work is divided into five parts. Part I provides a history and overview of Tobe Hooper's career. Part II offers entries (with synopses, complete credits, critical reception and commentaries) on every feature film by year of release. Part III provides chronological information on Hooper's television movies and miniseries. Part IV offers entries on his episodes from horror television series. Part V is a critical essay and conclusion which places Hooper in horror film history and compares his work to all-time greats such as Romero, Craven and Carpenter.

Since its inception in November 1963, the British science fiction television series ""Doctor Who"" has exerted an enormous impact on the world of science fiction (over 1,500 books have been written about the show). The series follows the adventures of a mysterious ""Time Lord"" from the distant planet Gallifrey who travels through time and space to fight evil and injustice. Along the way, he has visited Rome under the rule of Nero, played backgammon with Kublai Khan, and participated in the mythic gunfight at the O.K. Corral.Predating the ""Star Trek"" phenomenon by three years, ""Doctor Who"" seriously dealt with continuing characters, adult genre principles and futuristic philosophies. Critical and historical examinations of the ideas, philosophies, conceits and morals put forth in the ""Doctor Who"" series, which ran for 26 seasons and 159 episodes, are provided here. Also analyzed are thematic concepts, genre antecedents, the overall cinematography and the special effects of the long-running cult favorite. The various incarnations of ""Doctor Who"", including television, stage, film, radio, and spin-offs are discussed. In addition, the book provides an extensive listing of print, Internet, and fan club resources for ""Doctor Who"".

When the space drama ""Battlestar Galactica"" debuted on ABC in 1978, it was expected to be the most popular new program of the year. Instead, it was attacked as a Star Wars rip-off and canceled after a mere 17 stories. The author acknowledges the show was full of dramatic cliches and scientific inaccuracies, but despite these shortcomings, ""Battlestar Galactica"" was a dramatically resonant series full of unique and individual characters, such as Commander Adama (Lorne Greene) and ace warrior Captain Apollo (Richard Hatch). The author contends that ""Battlestar Galactica"" was a memorable attempt to make science fiction accessible to mainstream television audiences. The brilliant work of artist John Dykstra brought a new world of special effects to network television. ""Battlestar Galactica"" also skillfully exploited legends and names from both the Bible and ancient mythology, which added a layer of depth and maturity to the weekly drama.

Starring internationally renowned actors Martin Landau, Barbara Bain, Barry Morse and Catherine Schell, the British-made Space: 1999 was the only truly original space adventure of the mid-1970s. Sandwiched between the demise of the original Star Trek and the opening of the Stars Wars series on the big screen, Space: 1999 featured a richly-visualized world where space was terrifying and mysterious, where not all problems were solvable by technology and the space travelers were very human. From the science fiction show's conception in 1973 to its cancellation in 1977, this reference work covers each of the 48 episodes in depth, including a full plot synopsis, writer, director, guest star credits, and critical commentary that examines both the episode and other shows that have used similar plotlines. The popularity of Space: 1999 memorabilia and its many fan clubs are fully discussed, along with the possibility of a future movie or reunion show that would tie up the loose ends caused by the show's abrupt cancellation.

Filmmaker Wes Craven has consistently and imaginatively scared movie audiences since the early 1970s. His films encompass a variety of styles, elements and themes, from the nihilistic existentialism of The Last House on the Left to the successful A Nightmare on Elm Street (which sent horror in a bold new direction), to the hallucinatory dreamscapes of The Serpent and the Rainbow. And in the nineties, Craven returned with the Scream films, which were simultaneously funny, clever and scary films that overturned the horror cliches of the eighties. The present work provides a history of Craven's film career since 1972, examining all the themes and techniques the filmmaker explored. For each film, a synopsis, cast and credits, historical context, and critical commentary are provided. Also covered in detail are Craven's forays into television, including movies such as Stranger in the House and work on such series as The New Twilight Zone.