Sharing a difficult relationship with his father, Sam struggles to come to terms with his life in the process and aftermath of making his first film while juggling with complicated ambitions and his feelings for eccentric family members and friends.
Critical discussion of cult cinema has often noted its tendency to straddle or ignore boundaries, to pull together different sets of conventions, narrative formulas, or character types for the almost surreal pleasure to be found in their sudden juxtapositions or narrative combination. With its own boundary-blurring nature - as both science and fiction, reality and fantasy - science fiction has played a key role in such cinematic cult formation. This volume examines that largely unexplored relationship, looking at how the sf film's own double nature neatly matches up with a persistent double vision common to the cult film. It does so by bringing together an international array of scholars to address key questions about the intersections of sf and cult cinema: how different genre elements, directors, and stars contribute to cult formation; what role fan activities, including "con" participation, play in cult development; and how the occulted or "bad" sf cult film works. The volume pursues these questions by addressing a variety of such sf cult works, including Robot Monster (1953), Zardoz (1974), A Boy and His Dog (1975), Tetsuo: The Iron Man (1989), Space Truckers (1996), Ghost in the Shell 2 (2004), and Iron Sky (2012). What these essays afford is a revealing vision of both the sf aspects of much cult film activity and the cultish aspects of the whole sf genre.
Defining more than 10,000 words and phrases from everyday slang to technical terms and concepts, this dictionary of the audiovisual language embraces more than 50 subject areas within film, television, and home entertainment. It includes terms from the complete lifecycle of an audiovisual work from initial concept through commercial presentation in all the major distribution channels including theatrical exhibition, television broadcast, home entertainment, and mobile media. The dictionary definitions are augmented by more than 700 illustrations, 1,600 etymologies, and nearly 2,000 encyclopedic entries that provide illuminating anecdotes, historical perspective, and clarifying details.
THE MOVIE STAR AND THE MOVIE CRITIC — HOW FAR WOULD THEY GO TO KEEP THEIR SECRETS BURIED? DOUBLE FEATURE Contains two CLASSIC Donald E. Westlake novellas, A Travesty and Ordo WHAT’S HIDDEN BEHIND THE SILVER SCREEN? In New York City, a movie critic has just murdered his girlfriend – well, one of his girlfriends (not to be confused with his wife). Will the unlikely crime-solving partnership he forms with the investigating police detective keep him from the film noir ending he deserves? On the opposite coast, movie star Dawn Devayne – the hottest It Girl in Hollywood – gets a visit from a Navy sailor who says he knew her when she was just ordinary Estelle Anlic of San Diego. Now she’s a big star who’s put her past behind her. But secrets have a way of not staying buried... These two short novels, one hilarious and one heartbreaking, are two of the best works Westlake ever wrote. And fittingly, both became movies – one starring Jack Ryan’s Marie Josée Croze, and one starring Fargo’s William H. Macy and Desperate Housewives’ Felicity Huffman. A book by this guy is cause for happiness - Stephen King
Taboo breakers and trendsetters, shameless hucksters and famous directors. Exploitation filmmaking has seen it all. Fred Olen Ray made his first movie for $298. In 1936 Marijuana-Weed with Roots in Hell showed drug use and nudity on screen in an effort to "educate the public." Kroger Babb, the man behind Mom and Dad, spliced color medical footage of a baby's birth into his black and white "classic." Russ Meyer, John Waters, Andy Milligan, Doris Wishman, and many others are covered. "Classic" films such as The Immoral Mr. Teas, The Texas Chainsaw Massacre, and Nude on the Moon are examined. Production techniques and innovations are also discussed.
It is 1945 in Long Beach, New York, when three-year-old Brian Farley receives the scare of a lifetime. As little Brian bounces on his fathers stomach in a second-floor bedroom of their summer house, his father suddenly loses his grip, sending Brian out through the screen window and onto the sand below. As the summer house, normally a place of peace and respite, disrupts into chaos, little Brian has no idea that this particular event is just one of the many escapades he will experience growing up as an Irish Catholic boy in Brooklyn and Long Beach. Brian embarks on a memorable coming-of-age journey as the Farleys spend their winters in a borough thats undergoing many changesthe influx of Puerto Ricans, neighborhood deterioration, and the desertion of the Brooklyn Dodgersand their summers in paradise at their grandparents summer home. As Brian matures and falls in love with a beautiful, Puerto Rican classmate, only time will tell if their relationship will survive his mothers judgment and the shifting demographics of Brooklyn. But it is only after the family matriarch suddenly dies that everything Brian has ever known suddenly changes. In this compelling story, as a Brooklyn boy matures into adulthood amid a warm, loving, and sometimes conflicted New York family, he soon discovers he is responsible for his own happiness.
This is the history of advertising in motion pictures from the slide ads of the 1890s to the common practice of product placement in the present. Initially, product placement was seen as a somewhat sleazy practice and also faced opposition from the film industry itself; it has grown dramatically in the past 25 years. From Maillard's Chocolates advertising with a shot of Cardinal Richelieu enjoying a hot cup of cocoa in 1895, to product placements in 2002's Minority Report, for which advertisers were rumored to have paid $25 million, this book explores the developing union of corporate America and Hollywood. This work addresses such topics as television's conditioning of filmgoers to accept commercials, companies' donation of props, the debate about advertising such activities as smoking and drinking in films, and "product displacement," or demands by companies to keep their products absent from unpopular or controversial films. Film stills and a bibliography complete the book.
Labeled the ""lot that laughter built,"" the Hal Roach Studios launched the comedic careers of such screen icons as Harold Lloyd, Our Gang, and Laurel and Hardy. With this stable of stars, the Roach enterprise operated for forty-six years on the fringes of the Hollywood studio system during a golden age of cinema. Many of its productions are better remembered today than those by its larger contemporaries. In ""A History of the Hal Roach Studios"", Richard Lewis Ward meticulously follows the timeline of the company's existence from its humble inception in 1914 to its close in 1960 and, through both its obscure and famous productions, traces its resilience to larger trends in the entertainment business. Aided by a comprehensive filmography and production synopses, ""A History of the Hal Roach Studios"" recounts an overlooked chapter in American cinema, not only detailing the business operations of Roach's productions but also exposing the intricate workings of Hollywood's rivalrous moviemaking establishment.
Michael Jansen grew up in a strong, Christian home. He was a happy, well-adjusted teen-until a dark secret from the past shattered his world. In one instant, everything that the boy thought he knew and could count on wavered and vanished. The world had shifted on its axis, and nothing fit anymore. This teen's journey of discovery reveals the power of Christ-as our personal Savior, who wants to be involved in our daily choices. Michael has a lot to learn-about himself, about the nature of truth, about the importance of titles, and about the power of love. Michael learns that, sometimes, what we view as weakness is actually a gift from God-a gentle strength.Janella Henry lives in Sadler Texas, where she is relishing the recently rediscovered freedom that comes with having new wheels. She enjoys teaching and reading, and she has also had a hand in writing a book of Christian poetry entitled Walking in The Shadow of the Cross.
What darkness lurks beneath the Season of Lights? T'was the night before Christmas, and all through the house, not a creature was stirring … but are you sure about that? The dark winter nights can hold many secrets. Sylvia Shults has gathered over 120 tales of Christmas ghosts, giving new meaning to "the dead of winter". Shults organizes the book around seven themes. They encompass everything from strange Christmas customs ("We Wish You A Merry Christmas … Or Else!"), to the season's monsters ("He Sees You When You're Sleeping"), to ghost stories of Christmas ("'Tis The Season" and "It Came Upon a Midnight Clear"). Unwrap this book, and shiver your way through this great collection of gho-ho-hosts.
This comprehensive guide offers cinema enthusiasts everything they need to know about the history of film. The book covers the film industry’s most epic periods, including the early years of film starting in the 1830s, the silent years in the first quarter of the twentieth century, the pre–World War II sound era, the rise and fall of the Hollywood studios, and the transition into the twenty-first century. Along the way, readers learn about the most iconic films and directors from around the world, as well as how history, politics, and the cultural zeitgeist influenced cinema.
This is a story of one branch of the Pepe family in America. Starting with its roots in Italy, the narrative tracks the family from 1800, through the years if the Risorgimento, to the hilltop village in Ferrandina in Southern Italy, then to Little Italy in New York, and finally, to the (then) bucolic suburban area of Gravesend in Brooklyn. Along the way the family intersects with a number of historical figures and events, including Guglielmo Pepe, the George Washington of Italy, Maria Barbella, the first woman ever to be sentenced to the electric chair, Calhoun Washington, who was born a slave, Heavyweight Champion Bob Fitzsimmons, General George Armstrong Custer, John Philip Sousa, General Pershing and Pancho Villa. The story is told in three parts. Part one details the history of Michele Pepe and his family, from Ferrandina to America, with stops in Little Italy and the Gravesend section of Brooklyn. Part two tells the true history of the family, from 1800 to the present. Part Three is a memoir of Old Gravesend in the late thirties and early forties, a remembrance of the time, the place and the people.
Thirty-five years of nonfiction films offer a unique lens on twentieth-century French social issues Critical Mass is the first sustained study to trace the origins of social documentary filmmaking in France back to the late 1920s. Steven Ungar argues that socially engaged nonfiction cinema produced in France between 1945 and 1963 can be seen as a delayed response to what filmmaker Jean Vigo referred to in 1930 as a social cinema whose documented point of view would open the eyes of spectators to provocative subjects of the moment. Ungar identifies Vigo’s manifesto, his 1930 short À propos de Nice, and late silent-era films by Georges Lacombe, Boris Kaufman, André Sauvage, and Marcel Carné as antecedents of postwar documentaries by Eli Lotar, René Vautier, Alain Resnais, Chris Marker, and Jean Rouch, associated with critiques of colonialism and modernization in Fourth and early Fifth Republic France. Close readings of individual films alternate with transitions to address transnational practices as well as state- and industry-wide reforms between 1935 and 1960. Critical Mass is an indispensable complement to studies of nonfiction film in France, from Georges Lacombe’s La Zone (1928) to Chris Marker’s Le Joli Mai (1963).
'At last, Sinatra has the biography he deserves' - The Irish Times Frank Sinatra was the best-known entertainer of his century - infinitely charismatic, more legendary and notorious than any other public personality of his era. But no matter what you think, you don't know him. In this critically acclaimed biography, James Kaplan reveals how Sinatra made listening to pop music a more personal experience than it had ever been. We relive the years 1915 to 1954 in vibrant detail, experiencing as if for the first time Sinatra's journey from the streets of Hoboken, his fall from the summit of celebrity, and his Oscar-winning return in From Here to Eternity. Here is the book that, finally, gets under his skin.