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New York Times Bestseller * Now a Netflix Film "Rich,
tragic...monumental . . . true-crime reporting at its
best."-Washington Post The bestselling account of the lives of five
young women whose fates converged in the perplexing case of the
Long Island Serial Killer. Now updated, with a new epilogue by the
author. One late spring evening in 2010, Shannan Gilbert-after
running through the oceanfront community of Oak Beach screaming for
her life-went missing. No one who had heard of her disappearance
thought much about what had happened to the twenty-four-year-old:
she was a Craigslist escort who had been fleeing a scene-of what,
no one could be sure. The Suffolk County police, too, seemed to
have paid little attention-until seven months later, when an
unexpected discovery in a bramble alongside a nearby highway turned
up four bodies, all evenly spaced, all wrapped in burlap. But none
of them Shannan's. There was Maureen Brainard-Barnes, last seen at
Penn Station in Manhattan three years earlier, and Melissa
Barthelemy, last seen in the Bronx in 2009. There was Megan
Waterman, last seen leaving a hotel in Hauppauge, Long Island, just
a month after Shannon's disappearance in 2010, and Amber Lynn
Costello, last seen leaving a house in West Babylon a few months
later that same year. Like Shannan, all four women were petite, in
their twenties, and had come from out of town to work as escorts,
and they all had advertised on Craigslist and its competitor,
Backpage. Lost Girls is a portrait of unsolved murders in an
idyllic part of America, of the underside of the Internet, and of
the secrets we keep without admitting to ourselves that we keep
them. Long considered "one of the best true-crime books of all
time" (Time), this edition includes a new epilogue that speaks to
developments in the case, including the shocking fate of Mari
Gilbert, Shannan's mother, for whom this case became the crusade of
a lifetime.
Politics Goes to the Movies introduces the topic of political
representation and ideology by analyzing some of the most important
politically themed films across the history of cinema in a
refreshing and concise volume. Offering a survey of political
cinema from 1915 to present day, topics include: propaganda,
Communism, Fascism, revolutionary cinema, and contemporary
documentary. Using individual case studies that begin with The
Birth of a Nation and end with O.J.: Made in America, the book
introduces how various strands of international politics have been
woven through the fabric of cinema by contextualizing each film in
its particular historical moment. In addition, Robert Kolker offers
formal analyses that explore not only overtly political themes but
also how the structural properties of a film can themselves be
political-how political films are made, politically. Including
films produced across Europe, North Africa, the US, and Latin
America, this accessible and engaging book is an ideal introductory
text for students of political cinema.
Politics Goes to the Movies introduces the topic of political
representation and ideology by analyzing some of the most important
politically themed films across the history of cinema in a
refreshing and concise volume. Offering a survey of political
cinema from 1915 to present day, topics include: propaganda,
Communism, Fascism, revolutionary cinema, and contemporary
documentary. Using individual case studies that begin with The
Birth of a Nation and end with O.J.: Made in America, the book
introduces how various strands of international politics have been
woven through the fabric of cinema by contextualizing each film in
its particular historical moment. In addition, Robert Kolker offers
formal analyses that explore not only overtly political themes but
also how the structural properties of a film can themselves be
political-how political films are made, politically. Including
films produced across Europe, North Africa, the US, and Latin
America, this accessible and engaging book is an ideal introductory
text for students of political cinema.
Don and Mimi Galvin seemed to be living the American dream. After World War II, Don's work with the Air Force brought them to Colorado, where their twelve children perfectly spanned the baby boom: the oldest born in 1945, the youngest in 1965. In those years, there was an established script for a family like the Galvins - aspiration, hard work, upward mobility, domestic harmony - and they worked hard to play their parts. But behind the scenes was a different story: psychological breakdown, sudden shocking violence, hidden abuse. By the mid-1970s, six of the ten Galvin boys, one after the other, were diagnosed as schizophrenic. How could all this happen to one family?
What took place inside the house on Hidden Valley Road was so extraordinary that the Galvins became one of the first families to be studied by the National Institutes of Mental Health. Their story offers a shadow history of the science of schizophrenia, from the era of institutionalization, lobotomy, and the schizophrenogenic mother, to the search for genetic markers for the disease, always amidst profound disagreements about the nature of the illness itself. And unbeknownst to the Galvins, samples of their DNA informed decades of genetic research that continues today, offering paths to treatment, prediction, and even eradication of the disease for future generations.
With clarity and compassion, bestselling and award-winning author Robert Kolker uncovers one family's unforgettable legacy of suffering, love and hope.
Almost all students have seen 2001, but virtually none understand
its inheritance, its complexities, and certainly not its ironies.
The essays in this collection, commissioned from a wide variety of
scholars, examine in detail various possible readings of the film
and its historical context. They also examine the film as a genre
piece--as the summa of science fiction that simultaneously looks
back on the science fiction conventions of the past (Kubrick began
thinking of making a science fiction film during the genre's heyday
in the fifties), rethinks the convention in light of the time of
the film's creation, and in turn changes the look and meaning of
the genre that it revived--which now remains as prominent as it was
almost four decades ago. Constructed out of its director's
particular intellectual curiosity, his visual style, and his
particular notions of the place of human agency in the world and,
in this case, the universe, 2001 is, like all of his films, more
than it appears, and it keeps revealing more the more it is seen.
Though their backgrounds and disciplines differ, the authors of
this essay collection are united by a talent for vigorous yet
incisive writing that cleaves closely to the text--to the film
itself, with its contextual and intrinsic complexities--granting
readers privileged access to Kubrick's formidable, intricate
classic work of science fiction.
Alfred Hitchcock's Psycho: A Casebook collects some of the finest
essays on this groundbreaking film--a film that is ideal for
teaching the language of cinema and the ways in which strong
filmmakers can break Hollywood conventions. Psycho is a film that
can be used to present the structures of composition and cutting,
narrative and genre building, and point of view. The film is also a
highpoint of the horror genre and an instigator of all the slasher
films to come in its wake. The essays in the casebook cover all of
these elements and more. They also serve another purpose: presented
chronologically, they represent the changes in the methodologies of
film criticism, from the first journalist reviews and early
auteurist approaches, through current psychoanalytic and gender
criticism. Other selections include an analysis of Bernard
Hermann's score and its close relationship to Hitchcock's visual
construction; the famous Hitchcock interview by Francois Truffaut;
and an essay by Robert Kolker that, through the use of stills taken
directly from the film, closely reads its extraordinary cinematic
structure. Contributors include Robert Kolker, Stephen Rebello,
Bosley Crowther, Jean Douchet, Robin Wood, Raymond Durgnat, Royal
S. Brown, George Toles, Robert Samuels, and Linda Williams.
Alfred Hitchcock's Psycho: A Casebook collects some of the finest
essays on this groundbreaking film--a film that is ideal for
teaching the language of cinema and the ways in which strong
filmmakers can break Hollywood conventions. Psycho is a film that
can be used to present the structures of composition and cutting,
narrative and genre building, and point of view. The film is also a
highpoint of the horror genre and an instigator of all the slasher
films to come in its wake. The essays in the casebook cover all of
these elements and more. They also serve another purpose: presented
chronologically, they represent the changes in the methodologies of
film criticism, from the first journalist reviews and early
auteurist approaches, through current psychoanalytic and gender
criticism. Other selections include an analysis of Bernard
Hermann's score and its close relationship to Hitchcock's visual
construction; the famous Hitchcock interview by Francois Truffaut;
and an essay by Robert Kolker that, through the use of stills taken
directly from the film, closely reads its extraordinary cinematic
structure. Contributors include Robert Kolker, Stephen Rebello,
Bosley Crowther, Jean Douchet, Robin Wood, Raymond Durgnat, Royal
S. Brown, George Toles, Robert Samuels, and Linda Williams.
An updated and expanded version of this classic study of
contemporary American film, the new edition of A Cinema of
Loneliness reassesses the landscape of American cinema over the
past decade, incorporating discussions of directors like Judd
Apatow and David Fincher while offering assessments of the recent,
and in some cases final, work from the filmmakers--Penn, Scorsese,
Stone, Altman, Kubrick--at the book's core.
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