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The media is mad about the Hound and his mad, insightful movie reviews. This 1995 collection lists more than 23,000 movies on video (1,000 new to this edition), full videographies for 26,000 stars, over 4,000 music videos, contact information for 400 distributors, and includes videographies of 5,000 screenwriters and composers.
This comprehensive guide contains the most extensive listing of movies available on video--with 1,000 new movies, added categories, and more--plus a multitude of cross-referencing within its 13 primary indexes.
Describes and rates more than twenty thousand videos, and provides indexes by theme, awards, actors, actresses, and directors.
Videoland offers a comprehensive view of the "tangible phase" of consumer video, when Americans largely accessed movies as material commodities at video rental stores. Video stores served as a vital locus of movie culture from the early 1980s until the early 2000s, changing the way Americans socialized around movies and collectively made movies meaningful. When films became tangible as magnetic tapes and plastic discs, movie culture flowed out from the theater and the living room, entered the public retail space, and became conflated with shopping and salesmanship. In this process, video stores served as a crucial embodiment of movie culture’s historical move toward increased flexibility, adaptability, and customization. In addition to charting the historical rise and fall of the rental industry, Herbert explores the architectural design of video stores, the social dynamics of retail encounters, the video distribution industry, the proliferation of video recommendation guides, and the often surprising persistence of the video store as an adaptable social space of consumer culture. Drawing on ethnographic fieldwork, cultural geography, and archival research, Videoland provides a wide-ranging exploration of the pivotal role video stores played in the history of motion pictures, and is a must-read for students and scholars of media history.
The alternative life raft in a sea of similarity, VideoHound competes on content, categories, and indexing, but the dramatic difference is the attitude. Irreverent, slightly tongue-in-cheek, the Hound never takes himself too seriously. The 1997 edition, fully expanded and updated with 1,000 new entries, provides information and opinions on 22,000-plus videos--more than any other guide on the market--including documentaties, made-for-TV movies, and animated features. Includes Web site entertainment directory.
In this book the author examines how women detectives are portrayed in film, in literature and on TV. Chapters examine the portrayal of female investigators in each of these four genres: the Gothic novel, the lesbian detective novel, television and film.
USA Today gave it a 4-star rating, the Houston Chronicle called it "by far the best" and the New York Times says the "Hound takes the lead in a blaze of supplemental lists". The new 1996 edition of America's favorite guide to movies on video offers over 22,000 video reviews, including 1,000 new reviews.
An invaluable addition to the Citadel 100 series that ranks the most prominent Italian figures in history--from the Chairman of the Board to the Mayor of New York City Now more than ever, Americans have entered into a passionate love affair with all things Italian, from the world-changing adventures of Christopher Columbus to the drama of opera to Italian cinema to the epic family saga of The Sopranos. The Italian 100 chronicles the rich legacy of Italians and Italian-Americans in a ranking of the most influential 100 and the enduring nature of their contributions. The giants who immeasurably changed the size and shape of our world--Galileo (ranked #1), Christopher Columbus (#2), and Marconi (#3)--grace the top of the list, while artistic and literary giants such as Michaelangelo, Leonardo da Vinci, Botticelli, Petrarch, and Dante feature prominently. Also profiled are the brilliant (and sometimes despotic) political leaders such as Niccolo Machiavelli, Lorenzo de' Medici, Garibaldi, Rudolph Giuliani, and Benito Mussolini, and geniuses of music, theater, and film such as Vivaldi, Puccini, Pavarotti, Fellini, Scorcese, and Sinatra. The Italian 100 also highlights less-familiar figures who have left legacies of equal magnitude, such as Guido of Arezzo, who invented the musical staff: Leonardo Fibonacci, who introduced Arabic numerals to the Western world, Saint Fabiola, the Roman matron credited with cofounding the first public hospital in Western Europe; and Bartolommeo Cristofori, inventor of the modern piano. Part cultural companion, part historical reference, and part celebration, The Italian 100 is a fresh and sometimes controversial look at a people who, throughout more than fifteencenturies, have had an enormous and profound effect on every aspect of the modern world.
Films with dream sequences, or a dreamlike quality, allow directors to create their own rules of logic and nature to meet a variety of artistic needs. For instance, an opening dream immediately establishes what a character is feeling; a later dream--or series of them--provides viewers with a glimpse of the climax, and a concluding dream ties up loose ends. (In real life, of course, dreams do not occur at such convenient times or serve such useful purposes.) This book explores why science is lost or distorted in the process of representing dreams on film and why audiences prefer this figurative truth of art over the literal truth of science. Part One discusses changes in form and considers the history of dream theory. Additionally, the physiology of sleeping and dreaming, dream structure, sleep deprivation, dreams under the influence of drugs or alcohol, and waking up, as depicted on film, are examined. Part Two investigates changes in content, and delves into the psychology of sleeping and dreaming, dream interpretation, altered states of consciousness, visions and prophecies, dreams as wish fulfillment, sex and death, nightmares, and reality versus illusion. The author uses theories by Freud, Jung, and current experts in her analyses of dream sequences and their use in film.