US-amerikanisch

'A proper literary belter' THE TIMES<BR>'Affectionate and endlessly entertaining' RICHARD OSMAN<BR><BR>A wildly ambitious story of the making of a colossal, star-studded, multimillion-dollar superhero action film, and the humble comic book that inspired it all.<BR><BR>Spanning eighty years and culminating in the opening of a film, we meet a cast of characters including a troubled soldier, a young boy with an artistic gift, an inspired and eccentric director, a pompous film star on the rise, a tireless production assistant and countless film crew members who together create Hollywood magic.<BR><BR>Funny, touching, and wonderfully thought-provoking, The Making of Another Major Motion Picture Masterpiece offers an insider's take on the momentous efforts it takes to make a film. At once a reflection on America's past and present, on the world of show business and the real world we all live in.<BR>

Beard knows how to turn a phrase ... blending personal tales and family history into his critical analysis of the South on film. - Library Journal<BR><BR>From The Birth of a Nation to Forrest Gump, from the bayou to the Appalachians, American filmmakers have been fascinated by the South since the invention of the medium. Deeply complex and often mysterious, the character of the South makes for compelling stories, and The South Never Plays Itself examines those stories through the lenses of criticism and historical perspective.<BR><BR>Since Birth of a Nation became the first Hollywood blockbuster in 1915, movies have struggled to reckon with the American South-as both a place and an idea, a reality and a romance, a lived experience and a bitter legacy. Nearly every major American filmmaker, actor, and screenwriter has worked on a film about the South, from Gone with the Wind to 12 Years a Slave, from Deliverance to Forrest Gump. In The South Never Plays Itself, author and film critic Ben Beard explores the history of the Deep South on screen, beginning with silent cinema and ending in the streaming era, from President Wilson to President Trump, from musical to comedy to horror to crime to melodrama. Beard's idiosyncratic narrative-part cultural history, part film criticism, part memoir-journeys through genres and eras, issues and regions, smash blockbusters and microbudget indies, to explore America's past and troubled present, seen through Hollywood's distorting lens. Opinionated, obsessive, sweeping, often combative, sometimes funny-a wild narrative tumble into culture both high and low-Beard attempts to answer a haunting question: what do movies know about the South that we don't?

“An illuminating TV show biography” (Kirkus Reviews), the ultimate inside story of 60 Minutes—the program that has tracked and shaped the biggest moments in post-war American history. <BR><BR>From its almost accidental birth in 1968, 60 Minutes has set the standard for broadcast journalism. The show has profiled every major leader, artist, and movement of the past five decades, perfecting the news-making interview and inventing the groundbreaking TV exposé. From legendary sit-downs with Richard Nixon in 1968 and Bill Clinton in 1992 to landmark investigations into the tobacco industry, Lance Armstrong’s doping, and the torture of prisoners in Abu-Ghraib, the broadcast has not just reported on our world but changed it, too.<BR> <BR>Executive Producer Jeff Fager takes us into the editing room with the show’s brilliant producers and beloved correspondents, including hard-charging Mike Wallace, writer’s-writer Morley Safer, soft-but-tough Ed Bradley, relentless Lesley Stahl, intrepid Scott Pelley, and illuminating storyteller Steve Kroft. He details the decades of human drama that have made the show’s success possible: the ferocious competition between correspondents, the door slamming, the risk-taking, and the pranks. Above all, Fager reveals the essential tenets that have never changed: why founder Don Hewitt believed “hearing” a story is more important than seeing it, why the “small picture” is the best way to illuminate a larger one, and why the most memorable stories are almost always those with a human being at the center. <BR> <BR>“As traditional reporting is increasingly being challenged by high-decibel, opinion-drenched media, Fager highlights storytelling that conveys a deep understanding of issues and demonstrates the power of television to inform” (The Washington Post). Fifty Years of 60 Minutes is at once a sweeping portrait of fifty years of American cultural history and an intimate look at how the news gets made.

From the advent of the talkies to the emergence of the ratings system, Ten Movies at a Time covers four decades of American movies, notably the glory days of the studio system, or, as it is more glamorously tagged, the Golden Age of Hollywood.Through reviews of 350 representative films, author John DiLeo tells an alternative, idiosyncratic history of the movies, focusing on the trends, the sub-genres, the cultural and historical shifts, offering, in the process, the parallel story of America itself.The 1930s include the birth (and near-death) of the movie musical, the wave of anti-war films for peacetime, the pre-Production Code looseness followed by an abrupt transition to "respectability," and depictions of Depression America both realistic and escapist.The 1940s show Hollywood in full war-effort mode, in battle and on the home front, followed by a post-war cinema consisting of groundbreaking realism as well as a spate of fantasy films, plus the new and exciting "film noir," not to mention portraits of Cold War panic and the domestic bliss of suburbia.The 1950s saw longtime stars like James Stewart admirably stretching their talents, with comparable maturity and depth brought to musical biopics and westerns, just as original movie musicals peaked and subsided, while television was being challenged by wider screens and colorful remakes of ’30s classics.The 1960s courted audiences with soapy spectacles, macho epics, titillating sex farces, and mammoth Broadway-musical adaptations, but, as black and white was fading away, and as movies were getting more bloated, Hollywood was heading toward a new permissiveness and an uncharted landscape.As Ten Movies at a Time moves with the times, DiLeo presents a vibrant vision of just how the movies traveled from 1930 to 1970, enhanced by his lively and piercing perceptions of the 350 movies highlighted. Whether they are wonderful or terrible, beloved or forgotten, significant or routine, each one contributes something worthy to the conversation about our film legacy.

Da Coppola a Martin Scorsese, da Steven Spielberg a George Lucas, dai fratelli Coen a Tarantino e Wes Anderson. Un percorso attraverso le trasformazioni, i protagonisti, i film - come "Taxi Driver", "Le iene," "La 25 ora", "Harry ti presento Sally", "Eyes Wide Shut", "Matrix" - che individua le questioni chiave del cinema americano contemporaneo, dalla fine degli anni Sessanta ai giorni nostri. Das Urheberrecht an bibliographischen und produktbeschreibenden Daten und an den bereitgestellten Bildern liegt bei Informazioni Editoriali, I.E. S.r.l., oder beim Herausgeber oder demjenigen, der die Genehmigung erteilt hat. Alle Rechte vorbehalten.

NOW A NETFLIX ORIGINAL SERIES, featuring interviews with Steven Spielberg, Francis Ford Coppola and Guillermo del Toro<BR><BR>Before the Second World War the Hollywood box office was booming, but the business was accused of being too foreign, too Jewish, too 'un-American'. Then the war changed everything. With Pearl Harbor came the opportunity for Hollywood to prove its critics wrong.<BR><BR>America's most legendary directors played a huge role in the war effort: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. Between them they shaped the public perception of almost every major moment of the war. With characteristic insight and expert knowledge Harris tells the untold story of how Hollywood changed World War II, and how World War II changed Hollywood.

HC gerader Rücken mit Schutzumschlag

The American cinema of terrorism, although coming to prominence primarily in the 1970s amidst high-profile Palestinian terrorist activity, actually dates back to the beginnings of the Cold War. But this early terrorist cinema was centered largely around the Bomb--who had it, who would use it, when--and differs greatly from the terrorist cinema that would follow. Changing world events soon broadened the cinema of terrorism to address emerging international conflicts, including Black September, pre-9/11 Middle Eastern conflicts, and the post-9/11 "War on Terror." This analytical filmography of American terrorist films establishes terrorist cinema as a unique subgenre with distinct thematic narrative and stylistic trends. It covers all major American films dealing with terrorism, from Otto Preminger's Exodus (1960) to Ridley Scott's Body of Lies (2008).

Profitable, relatively inexpensive to produce, and with a faithful built-in audience, Hollywood horror franchise films have long dominated the market for generic feature film productions. This work examines the significant effects, good and bad, that the horror franchise genre has had on the careers of several American film directors, including Wes Craven (Nightmare on Elm Street), Don Coscarelli (Phantasm), and Joe Berlinger (Blair Witch 2: Book of Shadows). A comprehensive bibliography is included, along with an extensive alphabetical filmography of popular horror franchise films.