These haunting stories, like modern fairytales, draw us unconsciously through the mirror until we find ourselves half-drowned, washed up on the bank of the River Styx, our head in the arms of a stranger, looking out at the world we knew, and laughing."--BOOK JACKET.
To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters,Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler’s List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of ‘popcorn’ entertainment, Spielberg’s vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg’s principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg’s cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines—cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.
Crash-Landing is an exploration of modern day fear and failure. Its subject is self-delusion and self-fulfillment, sexual entanglements and midlife anxiety, marriage and existential loneliness. Named after Lindbergh, his parents' hero, Charles Burg has neither the requisite head for heights nor the stomach to go it alone. Though destined for a fall, he contrives--by never looking down--to keep his marriage to Anne aloft through years of circling, of buffeting crosswinds, instrument failure and near collisions. When the crackup finally comes, the touchdown is not tragic, flaming wreck, but a nose-in-the-mud return to ground zero. Both survive the forced landing. Anne comes through better: she manages to walk away from the wreckage. Chuck crawls off, emotionally grounded. We last see him fleeing across the Atlantic, winging toward an eighty-day crash cure at a rehabilitation camp fpr bereaved ex-husbands "some twenty kilometers south of Breat." Or rather, that is the reader's first glimpse of this comedy's anti-hero, for events unfold in reverse order appearance - from the crackup back to the passionate beginning that led to the marriage. The story's counter-chronological movement gives the reader foresight, while Chuck, its first-person narrator, remains, happily or ironically, unaware of the laws of physics that govern the all too short duration of love's flight.
Like his namesake, Lemuel Gulliver, Lem Grosz, the central character, sees a fair bit of the world, and it is a very odd sort of place. Leaving home at 15, Lem travels from New York to Los Angeles, where he becomes a flagpole sitter and unsuccessfully tries to "shed his humanness." Returning to New York a decade later, Lem finds a home (and begins an affair) with divorcee Connie White; he (mistakenly) thinks he has found his half-sister Lucy in a masseuse named Lucia Lamour; and he is astonished to come home one day and find Connie in bed with Lucy. Lem hits the road again, this time as a courier. During a mysterious assignment in Prague, where, for reasons not fully explained, one John Swift tries to kill him off but fails, dying in the attempt. Lem jets back to New York, where no one expresses any surprise when he takes over John Swift's life: name, wife, child and job. Spielberg's tale tries to be whimsical in a darkly satirical way but never loses its air of studied eccentricity: the author, who needs wings of gossamer to pull this one off, seems mainly to have feet of clay.
Twiddledum Twaddledum presents the fortunes and misfortunes, the adventures and misadventures of a young man in search of himself in an absurd world where opposites are identical twins but never reconciled.
Winner of 3 Oscars and the highest grossing film of its time, Jaws was a phenomenon, and this is the only book on how 26-year-old Steven Spielberg transformed Peter Benchley's best-selling novel into the classic film it became. Hired by Spielberg as a screenwriter to work with him on the set while the movie was being made, Carl Gottlieb, and actor and writer, was there throughout the production that starred Roy Scheider, Robert Shaw, and Richard Dreyfuss. After filming was over, with Spielberg's cooperation, Gottlieb chronicled the extraordinary year-long adventure in The Jaws Log, which was first published in 1975, generating 17 printings and selling more than 2 million copies. This paperback edition includes an introduction by Carl Gottlieb, an introduction by Peter Benchley, and 36 black and white photos.
The Hermetic Whore is a dark compilation of a dozen short stories, each providing a unique view into private lives of individuals and the breakdown of public order. From the near apocalyptic changes of women giving up skirts and social acceptance of sexual self-gratification to absurdity of a pair of cats being the guardians a young girl's virginity, each story provides social commentary on the ever-changing world. Spielberg provides a unique view of some of the most pressing social problems such as children divorcing their parents to an old survivor of the holocaust being ushered into death with his oblivious family standing nearby
First published in 1897, H.G. Wells's alien invasion narrative The War of the Worlds was a landmark work of science fiction and one that continues to be adapted and referenced in the 21st century. Chronicling the novel's contexts, its origins and its many multi-media adaptations, this book is a complete biography of the life – and the afterlives – of The War of the Worlds. Exploring the original text's compelling sense of place and vivid recreation of Wells's Woking home and the concerns of fin-de-siécle Britain, the book goes on to chart the novel's immediate international impact. Starting with the initial serialisations in US newspapers, Peter Beck goes on to examine Orson Welles's legendary 1938 radio adaptation, TV and film adaptations from George Pal to Steven Spielberg, Jeff Wayne's rock opera and the numerous other works that have taken their inspiration from Wells's original. Drawing on new archival research, this is a comprehensive account of the continuing impact of The War of the Worlds.
NEW YORK TIMES BESTSELLER • The shark-versus-man classic that inspired the blockbuster Steven Spielberg movie—now in a fiftieth anniversary edition with an exclusive foreword from the author’s wife, renowned ocean conservation advocate Wendy Benchley “A tightly written, tautly paced study of terror.”—The Washington Post A great white shark terrorizes the beautiful summer getaway of Amity Island, and a motley group of men take to the water to do battle with the beast. A heart-pounding novel of suspense and a brilliant meditation on the nature of humanity, Jaws is one of the most iconic thrillers ever written. In addition to Wendy Benchley’s foreword, this edition features bonus content from Peter Benchley’s archives, including the manuscript’s original typed title page, a brainstorming list of possible titles, a letter from Benchley to film producer David Brown with candid feedback on the movie adaptation, and excerpts from Benchley’s book Shark Trouble, highlighting his firsthand account of writing Jaws, selling it to Universal Studios, and working with Steven Spielberg. After writing Jaws in the early 1970s, Peter Benchley was actively engaged with scientists and filmmakers, and over the ensuing decades, joined many expeditions around the world as they expanded their knowledge of sharks and shark behavior. He encouraged each new generation of Jaws fans to enjoy his riveting tale and to channel their excitement into support and protection of these magnificent prehistoric apex predators.
In 1969, a low-budget biker movie, Easy Rider, shocked Hollywood with its stunning success. An unabashed celebration of sex, drugs, and rock 'n' roll (onscreen and off), Easy Rider heralded a heady decade in which a rebellious wave of talented young filmmakers invigorated the movie industry. In Easy Riders, Raging Bulls, Peter Biskind takes us on the wild ride that was Hollywood in the '70s, an era that produced such modern classics as The Godfather, Chinatown, Shampoo, Nashville, Taxi Driver, and Jaws. Easy Riders, Raging Bulls vividly chronicles the exuberance and excess of the times: the startling success of Easy Rider and the equally alarming circumstances under which it was made, with drugs, booze, and violent rivalry between costars Dennis Hopper and Peter Fonda dominating the set; how a small production company named BBS became the guiding spirit of the youth rebellion in Hollywood and how, along the way, some of its executives helped smuggle Huey Newton out of the country; how director Hal Ashby was busted for drugs and thrown in jail in Toronto; why Martin Scorsese attended the Academy Awards with an FBI escort when Taxi Driver was nominated; how George Lucas, gripped by anxiety, compulsively cut off his own hair while writing Star Wars, how a modest house on Nicholas Beach occupied by actresses Margot Kidder and Jennifer Salt became the unofficial headquarters for the New Hollywood; how Billy Friedkin tried to humiliate Paramount boss Barry Diller; and how screenwriter/director Paul Schrader played Russian roulette in his hot tub. It was a time when an "anything goes" experimentation prevailed both on the screen and off. After the success of Easy Rider, young film-school graduates suddenly found themselves in demand, and directors such as Francis Coppola, Peter Bogdanovich, George Lucas, and Martin Scorsese became powerful figures. Even the new generation of film stars -- Nicholson, De Niro, Hoffman, Pacino, and Dunaway -- seemed a breed apart from the traditional Hollywood actors. Ironically, the renaissance would come to an end with Jaws and Star Wars, hugely successful films that would create a blockbuster mentality and crush innovation. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age. Never before have so many celebrities talked so frankly about one another and about the drugs, sex, and money that made so many of them crash and burn. By turns hilarious and shocking, Easy Riders, Raging Bulls is the ultimate behind-the-scenes account of Hollywood at work and play.
“Most directors have one film for which they are known or possibly two,” said Francis Ford Coppola. “Akira Kurosawa has eight or nine.” Through masterpieces such as Kagemusha, Seven Samurai, and High and Low, Akira Kurosawa (1910–98) influenced directors from George Lucas and Steven Spielberg to Martin Scorsese, and his groundbreaking innovations in cinematography and editing, combined with his storytelling, made him a cinematic icon. In this succinct biography, Peter Wild evaluates Kurosawa’s films while offering a view of the man behind the camera, from his family life to his global audience. After discussing Kurosawa’s childhood in Japan, Wild explores his years as an assistant director at a new film studio and his early films during and after World War II before he won international acclaim with Rashomon. While surveying Kurosawa’s impressive career, Wild also examines the myriad criticisms the director faced both within his own country and abroad—he was too influenced by Western cinema; not authentically Japanese; and he was too sentimental, naïve, arrogant, or out of touch. By placing Kurosawa and his films in the context of his times, Wild helps us to understand the director and the reproaches against him. Cogent and concise, Akira Kurosawa will be essential reading for anyone interested in the work of this masterful filmmaker.
A look at the new Hollywood by the longtime editor-in-chief of Variety. The ultimate insider follows the winners and losers of Hollywood's 1998 Summer Season. Welcome to Hollywood, where gambling is a way of life -- and the wagers run into the hundreds of millions of dollars. But in the summer of 1998 all bets are off. The man who knows every mover, shaker, and faker explains why no one can explain the surprising season. Peter Bart goes behind the scenes like no one can to track the summer movies from development through release. He will reveal why "Godzilla" could never live up to its hype; how intense rivals Robert Redford and Warren Beatty saw their worst nightmares come true when they went head-to-head at the box office; how Jim Carrey's "Truman Show" stole the show; and how Steven Spielberg regained his title of king of the summer in a season where sleepers upset would-be blockbusters. While asteroid movies were colliding with each other, a billionaire newcomer was making superhuman attempts to resuscitate a moribund Universal Studios. With interviews from studio executives, producers, directors, agents, and stars, Peter Bart unveils the winners and losers in the new Hollywood, where creativity and commerce hang in a precarious balance.
In 1969, a low-budget biker movie, Easy Rider, shocked Hollywood with its stunning success. An unabashed celebration of sex, drugs, and rock 'n' roll (onscreen and off), Easy Rider heralded a heady decade in which a rebellious wave of talented young filmmakers invigorated the movie industry. In Easy Riders, Raging Bulls, Peter Biskind takes us on the wild ride that was Hollywood in the '70s, an era that produced such modern classics as The Godfather, Chinatown, Shampoo, Nashville, Taxi Driver, and Jaws. Easy Riders, Raging Bulls vividly chronicles the exuberance and excess of the times: the startling success of Easy Rider and the equally alarming circumstances under which it was made, with drugs, booze, and violent rivalry between costars Dennis Hopper and Peter Fonda dominating the set; how a small production company named BBS became the guiding spirit of the youth rebellion in Hollywood and how, along the way, some of its executives helped smuggle Huey Newton out of the country; how director Hal Ashby was busted for drugs and thrown in jail in Toronto; why Martin Scorsese attended the Academy Awards with an FBI escort when Taxi Driver was nominated; how George Lucas, gripped by anxiety, compulsively cut off his own hair while writing Star Wars, how a modest house on Nicholas Beach occupied by actresses Margot Kidder and Jennifer Salt became the unofficial headquarters for the New Hollywood; how Billy Friedkin tried to humiliate Paramount boss Barry Diller; and how screenwriter/director Paul Schrader played Russian roulette in his hot tub. It was a time when an "anything goes" experimentation prevailed both on the screen and off. After the success of Easy Rider, young film-school graduates suddenly found themselves in demand, and directors such as Francis Coppola, Peter Bogdanovich, George Lucas, and Martin Scorsese became powerful figures. Even the new generation of film stars -- Nicholson, De Niro, Hoffman, Pacino, and Dunaway -- seemed a breed apart from the traditional Hollywood actors. Ironically, the renaissance would come to an end with Jaws and Star Wars, hugely successful films that would create a blockbuster mentality and crush innovation. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age. Never before have so many celebrities talked so frankly about one another and about the drugs, sex, and money that made so many of them crash and burn. By turns hilarious and shocking, Easy Riders, Raging Bulls is the ultimate behind-the-scenes account of Hollywood at work and play.
A complete introduction to analyzing and enjoying a wide variety of movies, for film students and movie lovers alike Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is a thorough overview of movie analysis designed to enlighten both students and enthusiasts, and heighten their enjoyment of films. Readers will delve into the process of thinking about movies critically and analytically, and find how doing so can greatly enhance the pleasure of watching movies. Divided roughly into two parts, the book addresses film studies within the context of the dynamics of cinema, before moving on to a broader analysis of the relationship of films to the larger social, cultural, and industrial issues informing them. This updated fourth edition includes an entirely new section devoted to a complete analysis of the film adaptation of The Girl with the Dragon Tattoo, along with many in-depth discussions of important films such as Citizen Kane and Silence of the Lambs. The chapter on television integrates a major expansion distinguishing between television in the digital era of the convergence of the entertainment and technology industries in comparison to the era of broadcast analogue television. The final chapter places film within the current context of digital culture, globalization, and the powerful rise of China in film production and exhibition. The authors clearly present various methodologies for analyzing movies and illustrate them with detailed examples and images from a wide range of films from cult classics to big-budget, award-winning movies. This helps viewers see new things in movies and also better understand and explain why they like some better than others. Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is ideal for film students immersed in the study of this important, contemporary medium and art form as well as students and readers who have never taken a class on cinema before.
Based on hundreds of interviews with directors such as Coppola, Scorsese, Hopper and Spielberg, as well as producers, stars, studio executives, writers, spouses, ex-spouses, and girlfriends, this is the story of the crazy world that the directors ruled. Originally published in 1998.
Profiles one hundred top cinematic works available on DVD or video that are recommended for children, pairing each with a brief original essay that covers their aesthetic value as well as historical and cultural information.
Glossolalia is a compendium of 35 short stories, taking on genres from short comedy to science fiction, and from political satire to "literary" fiction and horror. A turn of the 21st century detective seeks a sense of purpose and a new start. A modern magician finds peace in a recorded voice from the past. A trucker gets a warning along with his meal at a truck stop diner. The brightest lights of stage and screen engage in a secret mission to save Hollywood. A young woman is taken for a ride at her new job, courtesy of political correctness. Germans and Russians compete in an escalating animal war during World War II. A reenactor sees history come to life on the battlefield at Gettysburg. A young Cuban man seeks escape to America on the high seas. A father tinkers with the genetic coding of his boys to give them a chance at succeeding where he has failed. These stories, and many more, await the reader of Glossolalia.
A “wide-ranging and sophisticated anthology” comparing theaters of war to wars in the movie theater (Dennis Showalter, author of Patton and Rommel). Why We Fought makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. A comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath, this volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front, Sands of Iwo Jima, Apocalypse Now, Platoon, and Saving Private Ryan—revealing how film depictions of the country’s wars have shaped our values, politics, and culture, and offering a unique lens through which to view American history. Named as a Choice Outstanding Academic Title
Combining a detailed film analysis with archival research and social science approaches, this book examines how American Graffiti (1973), a low-budget and star-less teen comedy by a filmmaker whose only previous feature had been a box office flop, became one of the highest grossing and most highly acclaimed films of all time in the United States, and one of the key expressions of the nostalgia wave washing over the country in the 1970s. American Graffiti: George Lucas, the New Hollywood and the Baby Boom Generation explores the origins and development of the film, its form and themes as well as its marketing, reception, audiences and impact. It does so by considering the life and career of the film’s co-writer and director George Lucas; the development and impact of the baby boom generation to which he, many of his collaborators and the vast majority of the film’s audience belonged; the transformation of the American film industry in the late 1960s and 1970s; and broader changes in American society which gave rise to an intense sense of crisis and growing pessimism across the population. This book is ideal for students, scholars and those with an interest in youth cinema, the New Hollywood and George Lucas as well as both Film and American Studies more broadly.
In this compulsively readable and constantly surprising book, Peter Biskind, the author of the film classics Easy Riders, Raging Bulls and Down and Dirty Pictures, writes the most intimate, revealing, and balanced biography ever of Hollywood legend Warren Beatty. Famously a playboy, Beatty has also been one of the most ambitious and successful stars in Hollywood. Several Beatty films have passed the test of time, from Bonnie and Clyde (which confirmed for him the importance of controlling the projects he was involved in) to Shampoo, Heaven Can Wait, Reds (for which he won the best director Oscar), Bugsy, and Bulworth. Few filmgoers realize that along with Orson Welles, Beatty is the only person ever nominated for four Academy Awards for a single film -- and unlike Welles, Beatty did it twice, with Heaven Can Wait and Reds. Biskind shows how Beatty used star power, commercial success, savvy, and charm to bend Hollywood moguls to his will, establishing an unprecedented level of independence while still working within the studio system. Beatty's private life has been the subject of gossip for decades, and Star confirms his status as Hollywood's leading man in the bedroom, describing his affairs with Joan Collins, Natalie Wood, Leslie Caron, Julie Christie, Michelle Phillips, Diane Keaton, and Madonna, among many others. Throughout his career, Beatty has demonstrated a fascination for politics. He was influential in the 1984 and 1988 presidential campaigns of Gary Hart. It was said of Hart and Beatty that each wanted to be the other, and Biskind shows that there was considerable truth in that wry observation. As recently as a few years ago, Beatty was speaking out about California politics and contemplating a run for governor. Biskind explains how Beatty exercised unique control, often hiring screenwriters out of his own pocket (and frequently collaborating with them), producing, directing, and acting in his own films, becoming an auteur before anyone in Hollywood knew what the word meant. He was arguably one of the most successful and creative figures in Hollywood during the second half of the twentieth century, and in this fascinating biography, Warren Beatty comes to life -- complete with excesses and achievements -- as never before.
In the early 1980s, Walt Disney Productions was struggling, largely bolstered by the success of its theme parks. Within fifteen years, however, it had become one of the most powerful entertainment conglomerates in the world. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance argues that far from an executive feat, this impressive turnaround was accomplished in no small part by the storytellers recruited during this period. Drawing from archival research, interviews, and textual analysis, Peter C. Kunze examines how the hiring of theatrically trained talent into managerial and production positions reorganized the lagging animation division and revitalized its output. By Aladdin, it was clear that animation—not live action—was the center of a veritable “renaissance” at Disney, and the animated musicals driving this revival laid the groundwork for the company’s growth into Broadway theatrical production. The Disney Renaissance not only reinvigorated the Walt Disney Company but both reflects and influenced changes in Broadway and Hollywood more broadly.
Unspeakable: Literature and Terrorism from the Gunpowder Plot to 9/11 explores the representation of terrorism in plays, novels, and films across the centuries. Time and time again, writers and filmmakers including William Shakespeare, Joseph Conrad, Henry James, Gillo Pontecorvo, Don DeLillo, John Updike, and Steven Spielberg refer to terrorist acts as beyond comprehension, “a deed without a name,” but they do not stop there. Instead of creating works that respond to terrorism by providing comforting narratives reassuring audiences and readers of their moral superiority and the perfidy of the terrorists, these writers and filmmakers confront the unspeakable by attempting to see the world from the terrorist’s perspective and by examining the roots of terrorist violence.
American MORE! is a four-level course from a highly respected author team that's bursting with features for lower secondary students. Each level of American MORE! contains 80-90 hours of class material. With dedicated reading, culture, grammar, vocabulary, skills and cross-curricular learning sections, plus a wide range of flexible components, you really do get more with American MORE! The Teacher's Book contains warm-up activities, detailed guidance on how to get the best out of the course, answer keys and 'Extra' idea sections for fast finishers.
Although writers on film music frequently allude to specific parts of scores, comprehensive examinations of entire scores are rare. In addition, most analyses of scores composed for the screen are discussed outside their cinematic context. To best understand the role music plays in the production of a motion picture, however, it benefits the viewer to consider all of the elements that comprise the film experience. In The Synergy of Film and Music: Sight and Sound in Five Hollywood Films, Peter Rothbart considers the aural and visual aspects of five representative films: West Side Story, Psycho, Empire of the Sun, Altered States, and American Beauty. For each film, the author demonstrates how a variety of elements work together to create a singular experience. After reviewing the various roles that music can serve in a film, as well as providing an overview of the film scoring process, Rothbart looks at each film, examining them one musical cue at a time, so the reader can watch the film while reading about each cue. In these analyses, timecode markings from commercial DVDs are provided in the margins alongside the text, which allow the reader to correlate the on-screen drama to the second. Rothbart explains how music is used in a specific cue and why the decision was made to use that particular musical idea at that moment. Consequently, film music aficionados--as well as students and composers of film music--can gain real-world perspective of how music is used in conjunction with other elements. In this way, the author raises awareness of music's relationship to virtually every other aspect of cinema--dialogue, sound effects, costuming, set design, and cinematography--to deepen the viewer's experience. Written in a deliberately nontechnical way, this book is intended for anyone interested in film to easily follow along. At the same time, the information can benefit professional filmmakers or composers because they can see with great detail how each cue unfolds along with all of the visual elements of the film. This unique analysis makes The Synergy of Film and Music a fascinating and instructive volume that both casual viewers and students of cinema will appreciate.
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