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When Sandy Sewyen captures and tames Catalina Mirando's beautiful white mare and wins the prize of marrying Catalina, Peter Dunstan is not at all happy, and he wasn't in the habit of letting a man like Sandy best him.
After taming Birena, a S-rank catgirl, Lint has rapidly overturned the notion that Tamers are an inferior adventuring class. After bringing dragons and fire wolves to heel, Lint's next target is the healer, the Holy Mother! Can he tame this holy maiden, and rescue her from a realm swirling with conspiracies?!
Law and and justice are important themes in film, not only in courtroom dramas, but also in the western, the film noir, even the documentary. In the Godfather trilogy Francis Ford Coppola shows that the Mafia possesses its own strict codes, even though they are in conflict with those of the criminal justice system. In Woody Allen's Crimes and Misdemeanors the protagonist also "gets away with murder," but with a different dramatic intent by the director and a different effect on the audience. Shedding light on myriad facets of the law/film relationship, fourteen contributors to Legal Reelism analyze films ranging from The Man Who Shot Liberty Valance, It's a Wonderful Life, and Drums Along the Mohawk to Do the Right Thing, Basic Instinct, The Thin Blue Line, and Thelma and Louise. The first volume to contain work by both humanists and legal specialists, Legal Reelism is a landmark text for those concerned with depictions of justice in the media and the impact of those depictions on society at large.
Sandy is a gentle giant who would never hurt anyone or anything, but if he is crossed, he can tame any outlaw and outshoot the quickest gunman, and even the lowest outlaws in the country hired to kill Sandy do not stand a chance. Reprint.
"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.
For decades, Screen World has been the film professional's, as well as the film buff's, favorite and indispensable annual screen resource, full of all the necessary statistics and facts. Now Screen World editor Barry Monush has compiled another comprehensive work for every film lover's library. In the first of two volumes, this book chronicles the careers of every significant film actor, from the earliest silent screen stars – Chaplin, Pickford, Fairbanks – to the mid-1960s, when the old studio and star systems came crashing down. Each listing includes: a brief biography, photos from the famed Screen World archives, with many rare shots; vital statistics; a comprehensive filmography; and an informed, entertaining assessment of each actor's contributions – good or bad! In addition to every major player, Monush includes the legions of unjustly neglected troupers of yesteryear. The result is a rarity: an invaluable reference tool that's as much fun to read as a scandal sheet. It pulsates with all the scandal, glamour, oddity and glory that was the lifeblood of its subjects. Contains over 1 000 photos!
Provides an introduction to American pulp fiction during the twentieth century with brief author biographies and lists of their works.
National Book Award Finalist: The “impressive” conclusion to the “magisterial trilogy on the mythology of violence in American history” (Film Quarterly). “The myth of the Western frontier—which assumes that whites’ conquest of Native Americans and the taming of the wilderness were preordained means to a progressive, civilized society—is embedded in our national psyche. U.S. troops called Vietnam ‘Indian country.’ President John Kennedy invoked ‘New Frontier’ symbolism to seek support for counterinsurgency abroad. In an absorbing, valuable, scholarly study, [the author] traces the pervasiveness of frontier mythology in American consciousness from 1890. . . . Dime novels and detective stories adapted the myth to portray gallant heroes repressing strikers, immigrants and dissidents. Completing a trilogy begun with Regeneration Through Violence and The Fatal Environment, Slotkin unmasks frontier mythmaking in novels and Hollywood movies. The myth’s emphasis on use of force over social solutions has had a destructive impact, he shows.” —Publishers Weekly “Stirring . . . Breaks new ground in its careful explication of the continuing dynamic between politics and myth, myth and popular culture.” —The New York Times “A subtle and wide-ranging examination how America’s fascination with the frontier has affected its culture and politics. . . . Intellectual history at its most stimulating—teeming with insights into American violence, politics, class, and race.” —Kirkus Reviews
From the beginning of the sound era until the end of the 1930s, independent movie-making thrived. Many of the independent studios were headquartered in a section of Hollywood called Poverty Row. Here the independents made movies on the cheap, usually at rented facilities where shooting was limited to only a few days. From Allied Pictures Corporation to Willis Kent Production, 55 Poverty Row Studios are given histories in this book. Some of the studios, such Diversion Pictures and Cresent Pictures, came into existence for the sole purpose of releasing movies by established stars; others, for example J.D. Kendis, were early exploitation filmmakers under the guise of sex education. The histories include critical commentary on the studio's output and a filmography of all titles released from 1929 through 1939.