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Whether you know every line from THE GREAT ESCAPE or could watch THE BRIDGE ON THE RIVER KWAI again and again, 101 WAR MOVIES YOU MUST SEE BEFORE YOU DIE is the book for you. Take a war, any war, from the beginning of time to the present day, throw in some amazing heroes, antiheroes and a whole lot of action and you have a classic war film. From Billy Wilder's STALAG 17 to THE DEER HUNTER this is the perfect guide. War films transcend more than one genre. From the first "antiwar" film, ALL QUIET ON THE WESTERN FRONT, through Bogart and Hepburn in THE AFRICAN QUEEN to Clint Eastwood's powerful LETTERS FROM IWO JIMA, war films have spanned several worlds of film-making. Discover movies filled with jingoistic propaganda made during wartime, as well as those that look back and ask the huge, burning questions that governments still refuse to answer. With insight from critics, film historians and academics, 101 WAR MOVIES YOU MUST SEE BEFORE YOU DIE offers a breadth of knowledge and passion for a celluloid century of tanks and trenches, guns and grenades, heart-rending deaths and heroic leadership. So if you love war movies, now is the time to don your flak jacket and begin the march to victory.
(back cover) Ballad of a Soldier - Apocalypse Now - Enigma - The Great Escape - Downfall - The Charge of the Light Brigade - A Bridge Too Far - Black Hawk Down - Saving Private Ryan - Platoon - The Longest Day - Stalag 17 - M*A*S*H - Grave of the Fireflies - Gallipoli - No Man's Land - Ran - The Killing Fields - Patton - Dr. Strangelove - The Dam Busters - Empire of the Sun - La Grande Illusion - Devils on the Doorstep - Land and Freedom - Hill 24 Doesn't Answer - Glory - Good Morning, Vietnam - Das Boot - Europa, Europa - Hell in the Pacific - Hotel Rwanda - Cross of Iron - Full Metal Jacket - Rome, Open City - Lawrence of Arabia - Salvador - The Bridge on the River Kwai - Stalingrad - A Matter of Life and Death - Shame - In Which We Serve - Three Kings - Zulu - The Deer Hunter - Wings - Welcome to Sarajevo - The Thin Red Line - Catch-22 (front flap) Whether you know every line from The Great Escape or could watch The Bridge on the River Kwai again and again, 101 War Movies You Must See Before You Die is the book for you. Take a war, any war, from the beginning of time to the present day, throw in some amazing heroes, antiheroes, and a whole lot of action, and you have a classic war film. From Billy Wilder's Stalag 17 to Michael Cimino's The Deer Hunter, this is the perfect guide. War films transcend more than one genre. From the first "antiwar" film, All Quiet on the Western Front, through Bogart and Hepburn in The African Queen to Clint Eastwood's powerful Letters from Iwo Jima, war films have spanned several worlds of filmmaking. Discover movies that show us heroic struggles, as well as those that question the motives and morality of war. With insight from critics, film historians, and academics, 101 War Movies You Must See Before You Die offers a breadth of knowledge and passion for a celluloid century of tanks and trenches, guns and grenades, heart-rending deaths, and heroic leadership. So if you love war movies, now is the time to don your flak jacket and begin the march to great entertainment. (back flap) Steven Jay Schneider is a film critic, scholar, and producer. He is editor of 1001 Movies You Must See Before You Die, 101 Horror Movies You Must See Before You Die, and 101 Sci-Fi Movies You Must See Before You Die, all available from Barron's. He is also the author and editor of many other books on film.
One of the most powerful forces in world culture, American cinema has a long and complex history that stretches through more than a century. This history not only includes a legacy of hundreds of important films but also the evolution of the film industry itself, which is in many ways a microcosm of the history of American society. Historical Dictionary of American Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries covering people, films, companies, techniques, themes, and subgenres that have made American cinema such a vital part of world culture.
From the early years, when he morphed from celebrated poet to provocative singer-songwriter, to his induction into the Rock and Roll Hall of Fame, Leonard Cohen has endured as one of the most enigmatic and profound figures—with a uniquely compelling voice and unparalleled depth of artistic vision—in all of popular music. The aesthetic quality and intellectual merit of Cohen’s work are above dispute; here, for the first time, a team of philosophers takes an in-depth look at its real significance. Want to know what Cohen and Kierkegaard have in common? Or whether Cohen rivals the great philosophical pessimist Schopenhauer? Then this book is for you. It provides the first thorough analysis of Cohen from various (philosophical) positions. It is intended not only for Cohen fans but also undergraduates in philosophy and other areas. It explores important neglected aspects of Cohen’s work without attempting to reduce them to academic tropes, yet nonetheless will also be useful to academics—or anyone—beguiled by the enigma that is Leonard Cohen.
Abbott and Costello were the most popular comedians of the 1940s, with burlesque-inspired routines that enthralled audiences on both radio and television. Oddly, their films have not received the same level of attention from critics and writers as those of other comedy teams. This book is a scene-by-scene, film-by-film guide to their movies, making a compelling case for their inclusion at the very top of comic artists. Featuring new research and some surprising revelations, the book introduces newcomers to the delights of this uproarious team and provides confirmed fans with the ultimate companion to their work. Also included is a foreword by John Landis, the celebrated director and Abbott and Costello devotee.
Lists "must-see" movies in a chronological arrangement, providing information on director, producer, screenplay writer, music, cast members, and awards, along with a detailed review of each
Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.
Chicano-Chicana Americana is a cultural history of Mexican Americans in film, television, and theater. Through biographical sketches of performers such as Anthony Quinn, Katy Jurado, Robert Beltran, and Lupe Ontiveros, this work asserts Mexican Americans’ proper place in the national narratives of our collective imaginary. Conveying a multicentered, polycultural America, this book shows us intriguing performers in bit parts who steal the scene and redefine what it means to be American. Each biographical chapter analyzes an underappreciated actor, revealing their artistic contributions to U.S. common culture. Their long-shot careers tell a tale of players taking action with agency and fighting for screen time and equal opportunity despite disadvantages and differential treatment in Hollywood. These dynamic and complex individuals altered cinematic representations—and audience expectations—by surpassing stereotypes. The book explores American national character by showing how ethnic Mexicans attained social and cultural status through fair, open competition without a radical realignment of political or economic structures. Their creative achievements demanded dignity and earned respect. Anthony Macías argues that these performances demonstrated a pop culture pluralism that subtly changed mainstream America, transforming it from the mythological past of the Wild West to the speculative future of science fiction.
In recent years, the ways in which digital technologies have come to shape our experience of the world has been an immensely popular subject in the horror film genre. Contemporary horror cinema reflects and exploits the anxieties of our age in its increasing use of hand-held techniques and in its motifs of surveillance, found footage (fictional films that appear 'real': comprising discovered video recordings left behind by victims/protagonists) and 'digital haunting' (when ghosts inhabit digital technologies). This book offers an exploration of the digital horror film phenomenon, across different national cultures and historic periods, examining the sub-genres of CCTV horror, technological haunting, snuff films, found footage and torture porn. Digital horror, it demonstrates, is a product of the post 9/11 neo-liberal world view - characterised by security paranoia, constant surveillance and social alienation. Digital horror screens its subjects via the transnational technologies of our age, such as the camcorder and CCTV, and records them in secret footage that may, one day, be found.
Booktalking Nonfiction: 200 Sure-Fire Winners for Middle and High School Readers will provide an introduction to selecting and writing booktalks for nonfiction books with a focus on unique informational texts and biographies and autobiographies. A booktalk is a summary of a book presented in a way that would interest someone in reading the book described. Why non-fiction? Because the Common Core Standards Initiative, which most states have adopted, requires that 70% of the materials students read be from the category of informational texts it is especially important to focus on nonfiction when sharing books with students. Here’s everything you need to do just that. Chapters cover selecting, writing, preparing, and presenting booktalks, special tips for high-interest, low-level books, and using non-fiction in the library and the classroom. Two hundred ready-to-present booktalks arranged by genre are also included. Genres include animals, famous people, sports, crime and serial killers, movies and television, religion, war, history, and the supernatural.