""When in doubt, make a Western."" — John Ford Director of nearly 150 feature films and winner of six Oscars, John Ford (1895-1973) was the quintessential American filmmaker. Ford produced an unparalleled body of work that includes such classics as The Grapes of Wrath, How Green Was My Valley, Stagecoach, My Darling Clementine, The Quiet Man, and The Searchers. In response to critics and fans who praised his work as having a powerful, singular vision, Ford was known for making statements such as ""It’s no use talking to me about art, I make pictures to pay the rent""; though such assertions betrayed his genuine love of filmmaking, which he called ""the only thing I really like to do."" Author Scott Eyman calls Ford ""America’s Homer"" — a fitting title for the filmmaker who helped frame the American experience for the world.
Cormac McCarthy - All the Pretty Horses
Part bildungsroman, part horse opera, part meditation on courage and loyalty, this beautifully crafted novel won the National Book Award in 1992. The plot is simple enough. John Grady Cole, a 16-year-old dispossessed Texan, crosses the Rio Grande into Mexico in 1949, accompanied by his pal Lacey Rawlins. The two precocious horsemen pick up a sidekick--a laughable but deadly marksman named Jimmy Blevins--encounter various adventures on their way south and finally arrive at a paradisiacal hacienda where Cole falls into an ill-fated romance. Readers familiar with McCarthy's Faulknerian prose will find the writing more restrained than in Suttree and Blood Meridian. Newcomers will be mesmerized by the tragic tale of John Grady Cole's coming of age.
Michael Temple - James S. Williams - Michael Witt - For ever Godard
For over 50 years now, Jean-Luc Godard’s work in cinema and video has innovated, provoked and inspired. Since the completion in 1998 of Histoire(s) du cinéma, Godard has featured strongly in debates about audiovisual art and culture, especially regarding questions of historical memory, technological change, and the future of cinema in all its forms. This historical moment provides the perfect opportunity for a critical reassessment and redefinition of Godard’s entire corpus and its key role within contemporary culture. With 22 lavishly illustrated chapters, as well as a photo essay and visual filmography, For Ever Godard aims to do critical justice to the full sweep of Godard’s artistic interests and preoccupations. The volume presents material by scholars and practitioners from film and media studies, art history, musicology, philosophy and aesthetics, museum studies, French studies, European history, cultural studies, and feminism and gender studies. As an important marker of current methodologies, research and practice across these different disciplinary areas, For Ever Godard is an invaluable resource and of major importance to current discourses and debates on cinema and visual culture.
Cormac McCarthy - Cities of the Plain
On a ranch in southeastern Texas, soon after World War II, a group of solitary, inarticulately lonely men gathers to work animals as the sun sets for good on the mythic American West. All of these men nurse losses both personal (siblings or wives) and collective (a shared lifestyle and philosophy). Among them is John Grady Cole, the adolescent hero of the first book in Cormac McCarthy's Border trilogy, All the Pretty Horses. John Grady remains the magnificent horseman he always was, and he still dreams too much. On the ranch, he meets Billy Parham, whose own tragic sojourn through Mexico in The Crossing, the second book of the set, continues to quietly suffocate him. The two form a friendship that will nurture both but save neither from the destiny that McCarthy's characters always sense lurching to meet them. Soaked in storm-heavy atmosphere but brightened by the ranch-hands' easy camaraderie and gentle humor, Cities of the Plain surprises with its sweetness. The awkward doomed-romance plot at the center of this tight, concise novel fails to convince, but, remarkably, does little to undercut the book's impact. What lingers here, and what matters, are the brooding, eerie portraits of the plains and the riders, glimpsed mostly alone but occasionally leaning together, who slip across them, over the horizon into memory. --Glen Hirshberg
Yasuhiro Nightow - Trigun Maximum 4. - Bottom of the Dark
This time with feeling! So, you thought since Vash and Wolfwood survived the battle with Hoppered the Gauntlet and Leonoff the Puppet Master, maybe they'd get some peace, have a little rest? You thought wrong. There are more Gung Ho Guns where those other oddballs came from, and you can bet those coming are just as strange as those who came before. Meet Midvalley the Hornfreak, a man who carries a saxophone and plays some really "killer" tunes. And then there's Zazie the Beast, a cute little fellow, but he's got something up his sleeve , or tucked into his eyelid (and it's probably got wings and multiple legs.) Sound interesting? It is. Trigun Maximum marches into more crazy battles, full of gunfire and humanity and frantic energy, a freaky mixture of pain, comedy, and mystery. Never a moment of rest for Vash the Stampede, a man whose body contains a planet-destroying gun, and whose credo is "Peace and Love!"
Stephen King - Song of Susannah
Susannah, now pregnant, has yet another taking control of her. The demon-mother, Mia, uses Susannah and Black Thirteen to transport to New York City of 1999. Jake, Oy, and Pere Callahan must rescue Susannah while Eddie and Roland transport to the Maine of 1977. A vacant lot in New York is the prize that must be saved and ties these together.
Walter Murch - In the Blink of an Eye
In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought-provoking essay on film editing. Starting with what might be the most basic editing question - Why do cuts work? - Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing (which accounts for a third of the book's pages) in light of the technological changes that have taken place in the six years since its publication.
John Steinbeck - The Red Pony
Jody Tiflin lives on a ranch in the Californian mountains and, like most ten-year-old boys, has the urge for rebellion as well as the need to be loved. His father gives him a red pony and he discovers both joy and sorrow as he takes responsibility for his horse. Jody learns something of life and death and comes to understand that adults too are fallible.
Jurgen Muller - Movies of the 60s
Viva María! Positioned precariously between the uptight 50s and the freewheeling 70s, the 1960s marked a turbulent time in the film industry. Though the term "feminism" may not have been ready for prime time, the 1960s were dominated by women’s liberation; from Jane Fonda’s Barbarella to Holly Golightly of Breakfast at Tiffany’s to Bonnie Parker of Bonnie and Clyde, screen females graduated from decorative accessories to complex, kick-ass personas. Now that audiences were more and more glued to their TV sets and the abolition of the Production Code loosened up the rules about what was "permissible" in cinema, filmmakers had more freedom to explore the possibilities of film as an art form. As was often the case, the Europeans were more daring—the French with Nouvelle Vague directors like Godard and Truffaut, and the Italians with such innovative films as Fellini’s 8 1/2 and Antonioni’s Eclipse—but by the mid-60s the Americans also showed signs of exercising creative liberties, especially in films from young underground directors such as Russ Meyer, John Frankenheimer, and Sam Peckinpah. Meanwhile, Mary Poppins and The Sound of Music ushered out the grandiose Hollywood musical era with a bang, the Spaghetti Western became an instant phenomenon, and Bond—James Bond—first appeared on-screen. In true pop art form, the movies of the 60s blurred the lines between art, mass market, and popular culture into a colorful, psychedelic oblivion. Dig it?
Jurgen Muller - Movies of the 50s
At a time when people were terrified of UFOs and Communism, the movie industry was busy producing movies that ranged from film noir to suspense to grandiose musicals; apparently the paranoid public in the 1950s wanted family entertainment and dark, brooding pictures in equal doses. The result is a decade's worth of truly monumental cinema, from Hitchcock masterpieces (Vertigo, Psycho, Rear Window) to comedy classics (Tati's Mr. Hulot's Holiday, Billy Wilder's Some Like it Hot) to groundbreaking nouvelle vague films (Godard's Breathless, Truffaut's The Four Hundred Blows) and profound, innovative dramas such as Antonioni's L?Avventura, Fellini's La Strada, John Huston's Misfits, and Kubrick's Paths of Glory. Though censorship kept sex safely off-screen, sexy stars such as James Dean, Marlon Brando, and Marilyn Monroe provided plenty of heat in Rebel Without a Cause, A Streetcar Named Desire, and Gentlemen Prefer Blondes respectively. A survey of the most important films of the 1950s
Jurgen Muller - Movies of the 40s
A trendsetting decade in world cinema The 40s were the decade of the movies. With the world at war, directors served up propaganda and escapist entertainment to the massed moviegoers of the pre-television age. Yet in many countries, there was also a parallel tendency towards greater realism. In Italy, for example, the spirit of the resistance culminated in the neorealist movement, which inspired the world's moviemakers with masterpieces such as De Sica's Bicycle Thieves (1948). In Hollywood, the 40s were probably the most creative phase in the studios? history. Never before had the Dream Factory brought such compellingly edgy and experimental films to the silver screen. The most seminal work of the decade was Citizen Kane (1941); Orson Welles's extravagantly original debut anticipated the expressive visual style that would come to typify film noir?the genre of ?dark movies, ? populated by romantic antiheroes and femmes fatales, that still represents the essence of cinema for many passionate movie buffs. In the atmospheric black-and-white universe of noir, Rita Hayworth, Ava Gardner, and Lauren Bacall became timeless erotic icons, while Bogart?following The Big Sleep (1945)?was the very quintessence of cool. While these movies bore witness to the cracks in America's fa?ade, another genre was busily reconstituting the nation's identity. In the films of John Ford, the Western came back with a vengeance, Monument Valley embodied America's incomparable grandeur, and John Wayne (The Duke) was a natural aristocrat of the wild frontier.
Jurgen Muller - Movies of the 20s
The birth of cinema: From the invention of the moving picture to the first sound movies From the first moving pictures (the Lumi?re brothers? 1895 ?L?arriv? d?un train?), early westerns, fantastic pictures, and nickelodeons all the way through the golden age of silent film in the 1920s, this book covers the first three decades of the moving picture around the world. In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens. Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first ?talkies, ? albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. Film entries include: ? Synopsis ? Film stills and production photos ? Cast/crew listings ? Trivia ? Useful information on technical stuff ? Actor and director bios
Jurgen Muller - Movies of the 30s
Escaping reality: the wonderful world of cinema during the Great Depression From Tod Browning's Dracula (1931) to Charlie Chaplin's The Great Dictator (1940), this tome explores a diverse and fascinating era in world cinema. The stock market crash of 1929 had left the America?and the globe?in a devastating depression that would not begin to lift until World War II. With so many jobless, penniless, broken people singing the blues, is it any wonder that Hollywood strove to distract viewers from their misery with comedies like Chaplin's Modern Times (1936), Capra's feel-good Mr. Deeds Goes to Town (1936), and the Marx Brothers? hilarious Duck Soup (1933), thrillers such as Hitchcock's seminal The 39 Steps (1935) or Hawks's Scarface (1932), or the epic romantic classic Gone with the Wind (1939)? While American moviegoers flocked to the theaters to escape their troubles and find solace in the magical world of Hollywood movies, filmmakers in Europe were experimenting with new techniques in a medium that had only recently gained sound; Fritz Lang's German Expressionist M (1931) and Jean Renoir's anti-war masterpiece La Grande Illusion (1937) greatly enhanced cinema as an art form, while Leni Riefenstahl's visually stunning Olympia (1936-38) pushed the limits of the medium's technical capacities. It's clear that while the 1930s was a time of poverty and struggle for many people, the world of cinema was much enriched. Film entries include: ? Synopsis ? Film stills and production photos ? Cast/crew listings ? Trivia ? Useful information on technical stuff ? Actor and director bios Plus: a complete Academy Awards list for the decade The editor: J?rgen M?ller studied art history in Bochum, Paris, Pisa, and Amsterdam. He has worked as an art critic, a curator of numerous exhibitions, a visiting professor at various universities, and has published books and numerous articles on cinema and art history. Currently he holds the chair for art history at the University of Dresden, where he lives. M?ller is the series editor for TASCHEN's Movies decade titles.
Temenuga Trifonova - European Film Theory
European Film Theory explores the ‘Europeanness’ of European film theory, its philosophical origins, the ‘culture wars’ between ‘Continental’ and ‘Analytical’ film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the contributors to this new volume in the AFI FILM READERS series offer fresh interpretations of European film theorists and illuminate the political potential of European film theory.
Cormac McCarthy - The Crossing
The opening section of The Crossing, book two of the Border Trilogy, features perhaps the most perfectly realized storytelling of Cormac McCarthy's celebrated career. Like All the Pretty Horses, this volume opens with a teenager's decision to slip away from his family's ranch into Mexico. In this case, the boy is Billy Parham, and the catalyst for his trip is a wolf he and his father have trapped, but that Billy finds himself unwilling to shoot. His plan is to set the animal loose down south instead. This is a McCarthy novel, not Old Yeller, and so Billy's trek inevitably becomes more ominous than sweet. It boasts some chilling meditations on the simple ferocity McCarthy sees as necessary for all creatures who aim to continue living. But Billy is McCarthy's most loving--and therefore damageable--character, and his story has its own haunted melancholy. Billy eventually returns to his ranch. Then, finding himself and his world changed, he returns to Mexico with his younger brother, and the book begins meandering. Though full of hypnotically barren landscapes and McCarthy's trademark western-gothic imagery (like the soldier who sucks eyes from sockets), these latter stages become tedious at times, thanks partly to the female characters, who exist solely as ghosts to haunt the men. But that opening is glorious, and the whole book finally transcends its shortcomings to achieve a grim and poignant grandeur. --Glen Hirshberg
Yasuhiro Nightow - Trigun Maximum 2. - Death Blue
Vash the Stampede rises again! Vash the Stampede can't seem to escape peril since he came out of two years' hiding. Travelling across a dusty planet back to his old hometown, Vash survives a duel with a samurai on skullskates and delivers a town from the terror of a local thug, only to arrive home to a mysterious and grim surprise. The popular manga story continues into new territory, as Trigun Maximum follows our hero's promotion of "peace and love" further into comedic conflict and daring despair with volume 2, "Death Blue".
Stephen King - The Dark Tower
All good things must come to an end, Constant Reader, and not even Stephen King can make a story that goes on forever. The tale of Roland Deschain's relentless quest for the Dark Tower has, the author fears, sorely tried the patience of those who have followed it from its earliest chapters. But attend to it a little longer, if it pleases you, for this volume is the last, and often the last things are best. Roland's ka-tet remains intact, though scattered over wheres and whens. Susannah-Mia has been carried from the Dixie Pig (in the summer of 1999) to a birthing room--really a chamber of horrors--in Thunderclap's Fedic; Jake and Father Callahan, with Oy between them, have entered the restaurant on Lex and Sixty-first with weapons drawn, little knowing how numerous and noxious are their foes. Roland and Eddie are with John Cullum in Maine, in 1977, looking for the site on Turtleback Lane where "walk-ins" have been often seen. They want desperately to get back to the others, to Susannah especially, and yet they have come to realize that the world they need to escape is the only one that matters. Thus the book opens, like a door to the uttermost reaches of Stephen King's imagination. You've come this far. Come a little farther. Come all the way. The sound you hear may be the slamming of the door behind you. Welcome to The Dark Tower.
Stephen King - The Drawing of the Three
Once again, Stephen King masterfully interweaves dark, evocative fantasy and icy realism, as his hero, Roland, the Last Gunslinger, pursues his quest for the Dark Tower. Roaming another world that is a nightmarishly distorted mirror image of our own, he is drawn through a mysterious door that brings him into 1980s America. Here he links forces with the defiant young Eddie Dean and with beautiful, brilliant and brave Odetta Holmes, in a savage struggle against underworld evil and otherworldly enemies. With a storytelling skill that is sheer magic, and with breathtaking boldness of imagination, Stephen King has risen to the peak of his power to create a compelling epic that is at once enigmatic and familiar...and always compulsively readable.
Stephen King - The Waste Lands
The Dark Tower III: The Waste Lands follows The Gunslinger and The Drawing of the Three as the third volume in this remarkable series, which well may be the most extraordinary and most imaginative cycle of tales in the English language. Inspired in part by Robert Browning's narrative poem, Stephen King has written once again of his twenty-year affair with The Dark Tower and its strange world that is both so familiar and unfamiliar to us. Writing of his masterwork, King reveals that he is ". . .still able to find Roland's world when I set my wits to it, and it still holds me in thrall. . .more, in many ways, than any of the other worlds I have wandered in my imagination." The first volume in the cycle, The Dark Tower: The Gunslinger, tells of the haunting, mysterious character of Roland of Gilead, the last gunslinger, in a world that has "moved on." A second volume, The Drawing of the Three, picks up Roland's quest upon a deserted beach of the Western Sea. In The Waste Lands, we are joined with old acquaintances: the boy Jake who has been introduced in The Gunslinger, along with Eddie Dean and Susannah, who are so prominently featured in The Drawing of the Three. Roland's strange odyssey continues. There are new evils. . .new dangers to threaten Roland's little band in the devastated city of Lud and the surrounding waste lands, as well as horrific confrontations with Blaine the Mono, the piratical Gasher, and the frightening Tick-Tock Man. The Dark Tower cycle continues to set its author on a plane apart. What lands, what peoples has Stephen King visited that are so unreachable to us except in the pages of his unique writings?
Stephen King - Wizard and Glass
Part IV of an epic quest. Roland the Gunslinger and his followers have to contend with a sentient monorail intent on killing itself and taking them with it. While seeking to return to the Path of the Beam that will lead them to the Dark Tower, Roland tells his friends a story about the tragic loss of his first love, Susan Delgado.
Stephen King - The Wind Through the Keyhole
For those discovering the epic bestselling Dark Tower series for the first time—and for its legions of dedicated fans—an immensely satisfying stand-alone novel and perfect introduction to the series.Beginning in 1974, gaining momentum in the 1980s and coming to a thrilling conclusion when the last three novels were published in 2003-2004, the Dark Tower epic fantasy saga stands as Stephen King’s most beguiling achievement. It has been the basis for a long-running Marvel comic series. Now, with The Wind Through the Keyhole, King has returned to the rich landscape of Mid-World. This story within a story within a story finds Roland Deschain, Mid-World’s last gunslinger, in his early days during the guilt-ridden year following his mother’s death. Sent by his father to investigate evidence of a murderous shape-shifter, a “skin-man,” Roland takes charge of Bill Streeter, a brave but terrified boy who is the sole surviving witness to the beast’s most recent slaughter. Roland, himself only a teenager, calms the boy by reciting a story from the Book of Eld that his mother used to read to him at bedtime. “A person’s never too old for stories,” he says to Bill. “Man and boy, girl and woman, we live for them.” Sure to captivate the avid fans of the Dark Tower epic, this is an enchanting introduction to Roland’s world and the power of Stephen King’s storytelling magic.