Composing, Casablanca, and the Golden Age of Film Music
Max Steiner is one of the greatest-not to mention most prolific-composers of the Golden Age of Hollywood. The winner of three Academy Awards, Steiner's credits include King Kong, The Informer, Gone with the Wind, Now, Voyager, Since You Went Away, Johnny Belinda, and The Caine Mutiny. Though known for timeless melodies that symbolize the glamor of ......
Desperate young lovers on the lam (They Live by Night), a cynical con man making a fortune as a mentalist (Nightmare Alley), a penniless pregnant girl mistaken for a wealthy heiress (No Man of Her Own), a wounded veteran who has forgotten his own name (Somewhere in the Night) - this gallery of film noir characters challenges the stereotypes of the ......
Everyone seems to know what film noir is, but scholars and critics cannot agree on any definition. Some go so far as to insist that there is no such thing. What is Film Noir? claims that this confusion arises from the fact that film noir is both a genre and a period style, and as such is unique in the history of Hollywood. The genre, now known as ......
Offers a comprehensive history of cinematic pornography that details sex in film from 100 years ago to today. This title discusses the many controversial aspects to the porn film business, including Mafia influences, the impact of the AIDS epidemic on the industry, and the myths and realities behind child pornography.
For the last quarter of a century cinema has given expression to feminist debates about culture, representation and identity. This anthology charts the history of those debates, bringing together significant essays in feminist film theory.
A filmmaker and a film theorist construct a dialogue around a close reading of eight Godard films, in chronological order, beginning with My Life to Live (1962) and ending with New Wave (1990). Their close reading follows the unfolding of the films as if the two were sitting at a flatbed, with the
Probably the prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. This title conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries.
