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Close Encounters of the Worst Kind
CLOSE ENCOUNTERS OF THE WORST KIND is an unconventional and startlingly truthful autobiographical memoir by the distinguished American composer-conductor Phillip Lambro. It includes little known highly personal and candid recollections and recounting of witty evocative situations and stories which Phillip Lambro has personally experienced during his interesting and varied life with an unbelievable diverse cast of famous personages ranging from Salvador Dali, Frank Sinatra, Jack Benny, Huntington Hartford, Howard Hughes, and Roman Polanski; to John F. Kennedy, Sylvia Plath, Harold Lloyd, Richard Nixon, Jack Nicholson, Alfred Hitchcock, Steven Spielberg, Antonio Carlos Jobim, and many more.
Never Done
Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these w...
What Women Want
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After the Hector
This is the first fully documented and detailed account, produced in recent times, of one of the greatest early migrations of Scots to North America. The arrival of the Hector in 1773, with nearly 200 Scottish passengers, sparked a huge influx of Scots to Nova Scotia and Cape Breton. Thousands of Scots, mainly from the Highlands and Islands, streamed into the province during the late 1700s and the first half of the nineteenth century. Lucille Campey traces the process of emigration and explains why Scots chose their different settlement locations in Nova Scotia and Cape Breton. Much detailed information has been distilled to provide new insights on how, why and when the province came to acqu...
Psycho in the Shower
This is a brilliant study of one scene in one movie: the shower scene from Psycho. Every other chapter is an extended interview with someone who worked on the original film, or on Gus van Sant's remake from a few years ago. The non-interview chapters take various approaches to film criticism, and refer often to the author and his writing of this book. It's lightly done, but compelling and often very entertaining.
The Horse Who Drank the Sky
What is most important about cinema is that we are alive with it. For all its dramatic, literary, political, sociological, and philosophical weight, film is ultimately an art that provokes, touches, and riddles the viewer through an image that transcends narrative and theory. In The Horse Who Drank the Sky, Murray Pomerance brings attention to the visceral dimension of movies and presents a new and unanticipated way of thinking about what happens when we watch them. By looking at point of view, the gaze, the voice from nowhere, diegesis and its discontents, ideology, the system of the apparatus, invisible editing, and the technique of overlapping sound, he argues that it is often the minuscule or transitional moments in motion pictures that penetrate most deeply into viewers' experiences. In films that include Rebel Without a Cause, Dead Man, Chinatown, The Graduate, North by Northwest, Dinner at Eight, Jaws, M, Stage Fright, Saturday Night Fever, The Band Wagon, The Bourne Identity, and dozens more, Pomerance invokes complexities that many of the best of critics have rarely tackled and opens a revealing view of some of the most astonishing moments in cinema.
Alfred Hitchcock's Frenzy
After an unparalleled string of artistic and commercial triumphs in the 1950s and 1960s, Alfred Hitchcock hit a career lull with the disappointing Torn Curtain and the disastrous Topaz. In 1971, the depressed director traveled to London, the city he had left in 1939 to make his reputation in Hollywood. The film he came to shoot there would mark a return to the style for which he had become known and would restore him to international acclaim. Like The 39 Steps, Saboteur, and North by Northwest before, Frenzy repeated the classic Hitchcock trope of a man on the run from the police while chasing down the real criminal. But unlike those previous works, Frenzy also featured some elements that were new to the master of suspense’s films, including explicit nudity, depraved behavior, and a brutal act that would challenge Psycho’s shower scene for the most disturbing depiction of violence in a Hitchcock film. In Alfred Hitchcock’s Frenzy: The Last Masterpiece, Raymond Foery recounts the history—writing, preprod
Hitchcock's Ear
The author focuses on the way that music has infiltrated Hitchcock’s thinking as a director, from his earliest silent films to his last works.
Hitchcock's Music
"A wonderfully coherent, comprehensive, groundbreaking, and thoroughly engaging study” of how the director of Psycho and The Birds used music in his films (Sidney Gottlieb, editor of Hitchcock on Hitchcock). Alfred Hitchcock employed more musical styles and techniques than any film director in history, from Marlene Dietrich singing Cole Porter in Stage Fright to the revolutionary electronic soundtrack of The Birds. Many of his films—including Notorious, Rear Window, Vertigo, North by Northwest, and Psycho—are landmarks in the history of film music. Now author and musicologist Jack Sullivan presents the first in-depth study of the role music plays in Hitchcock’s films. Based on extens...
