Maureen Howard deepens her inquiry into the meeting place of history and family in this stunning and accessible novel. Isabel Murphy renounced silent-film stardom to raise a family in Rhode Island. Now she is dead at 90 and her children are trying to break free of the lives she has dealt them. Joe, a Jesuit priest, has failed at love and the healing of souls. Stodgy Rita has found late happiness with a gangster who has turned state’s evidence. And Gemma, Isabel’s honorary child, has grown up to experience a strange celebrity as a photographer. A darkly comic story of guilt, love, and forgiveness, The Silver Screen is luminous in its intelligence and empathy.

A Mysterious envelope is delivered to Kate Clifton one year after her mother's death. The contents a personal note and video reveals amazing information that turns her life upside down. Her mother confesses to being part of a group of elite scientists headed up by Howard Hughes who created a time portal. All this is hidden behind the dignified studio Tyme productions. But it is when her mother reveals the true identity of her father a 1930's matinee idol that the video bursts into flames. In kate's haste to secure answers from Sherman Avery studio head she sets in motions events that not only send her back to 1939 Hollywood but changes her life forever.

In the movies, government often finds itself in a variety of roles from villain to supporting cast, and rarely, if ever, the hero. A frequent component of that role is the bureaucracy and as documented in Civil Servants on the Silver Screen: Hollywood’s Depiction of Government and Bureaucrats, bureaucrats are routinely found on screen. This book investigates how government bureaucrats are portrayed in the top ten box office grossing films from 2000 through 2015. Perhaps unsurprisingly, government is generally portrayed poorly, while individual government bureaucrats are typically depicted positively. These images of government on screen are particularly important given the ability of movies to influence the attitudes and perceptions of its audiences. The nature of these depictions and potential implications are considered as bureaucrats in film are categorized.

The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors, including leading cinema historians and theorists, psychoanalysts with a specific expertise in the interpretation of films, as well as the filmmakers themselves. This composite approach offers a fascinating insight into the world of cinema. The Couch and the Silver Screen is illustrated with stills throughout and Andrea Sabbadini's introduction provides a theoretical and historical context for the current state of psychoanalytic studies of films. The book is organised into four clear sections - Set and Stage, Working Through Trauma, Horror Perspectives and Documenting Internal Worlds - which form the basis for engaging chapters including: easily readable and jargon-free film reviews. essays on specific subjects such as perspectives on the horror film genre and adolescent development. transcripts of live debates among film directors including Bernardo Bertolucci, actors, critics and psychoanalysts discussing films. The cultural richness of the material presented, combined with the originality of multidisciplinary dialogues on European cinema, makes this book appealing not only to film buffs, but also to professionals, academics and students interested in the application of psychoanalytic ideas to the arts.

In 1897 – only two years after the invention of film – the first feature film about Jesus appeared. This and other films about Jesus became examples for and an inspiration for films on other important religious figures like Rama, Buddha and Muhammad. Although religious leaders did not always approve of these films, they did find a ready audience among believers. This book explores these films and looks at how these films dealt with the fundamental question of portraying an individual thought to have either divine status or a very special and unique status among human beings. This book will thus benefit not only students of religious film but also those studying the portrayal of central religious figures in the contemporary world.

Thaddeus Thatcher makes a blood pact with his best friends that they will all graduate college and go forth into the world, pursuing a life of glorious, swashbuckling adventure. Thaddeus sets out, determined to fulfill his vow, and discovers the wonders and beauty of new places and people. While on a romantic weekend sailboat getaway on an atoll off the coast of Tahiti, he runs into the celebrity Avior Aviideus. Avior likes Thaddeus's adventurous spirit and invites him to be in a Hollywood movie titled The Glean from the Silver Screen being shot in Australia. Thaddeus crews on a superyacht as passage to Australia and serendipitously bumps into the popstar Satellite Sacavage, who is also headed to star in the movie. However, what starts out as a Hollywood movie turns into a reality that none of them could have ever expected. The cast and crew find themselves discovering a truth that grows more powerful as they trek across all seven continents in pursuit of creating the movie that could change the world.

For more than thirty years, William F. “Buffalo Bill” Cody entertained audiences across the United States and Europe with his Wild West show. Scores of books have been written about Cody’s fabled career as a showman, but his involvement in the film industry—following the dissolution of his traveling show—is less well known. In Buffalo Bill on the Silver Screen, Sandra K. Sagala chronicles the fascinating story of Cody’s venture into filmmaking during the early cinema period. In 1894 Thomas Edison invited Cody to bring some of the Wild West performers to the inventor’s kinetoscope studio. From then on, as Sagala reveals, Cody was frequently in the camera’s eye, eager to participate in the newest and most popular phenomenon of the era: the motion picture. In 1910, promoter Pliny Craft produced The Life of Buffalo Bill, a film in which Cody played his own persona. After his Wild West show disbanded, Cody fully embraced the film business, seeing the technology as a way to recoup his financial losses and as a new vehicle for preserving America’s history and his own legacy for future generations. Because he had participated as a scout in some of the battles and skirmishes between the U.S. Army and Plains Indians, Cody wanted to make a film that captured these historical events. Unfortunately for Cody, The Indian Wars (1913) was not a financial success, and only three minutes of footage have survived. Long after his death, Cody’s legacy lives on through the many movies that have featured his character. Sagala provides a useful appendix listing all of these films, as well as those for which Cody himself took an active role as director, producer, or actor. Published on the eve of the centennial anniversary of The Indian Wars, this engaging book offers readers new insights into the legendary figure’s life and career and explores his lasting image in film.

At the first glance the novel could have been classified as a thriller, with suspense and sensual plot that at least partly is set in an environment of soft porno movie production in London, at the time of end of 1980s, including elements of mafia and IRA activities. Nonetheless, there was cleverly 'smuggled' a great deal of information about the work of cameraman, as well as of director while rehearsing with the actors or carrying out shooting of the movie. Further on, it entertains with real and anecdotic information about the cinematic environment. Besides, the novel is bringing a spectrum of information about writing a script for a historical movie and development of the concept of its realization. While doing so, it is also building up a reflective view over 15s century French poet Francois Villon; his personality and highly original oeuvre. The main thread of the contemporary action of the novel drifts towards the historical one, and in a way, they become tragically connected.

Shanghai in the early twentieth century was alive with art and culture. With the proliferation of popular genres such as the martial arts film, the contest among various modernist filmmakers, and the advent of sound, Chinese cinema was transforming urban life. But with the Japanese invasion in 1937, all of this came to a screeching halt. Until recently, the political establishment has discouraged comprehensive studies of the cultural phenomenon of early Chinese film, and this momentous chapter in China's history has remained largely unexamined. The first sustained historical study of the emergence of cinema in China, An Amorous History of the Silver Screen is a fascinating narrative that illustrates the immense cultural significance of film and its power as a vehicle for social change. Named after a major feature film on the making of Chinese cinema, only part of which survives, An Amorous History of the Silver Screen reveals the intricacies of this cultural movement and explores its connections to other art forms such as photography, architecture, drama, and literature. In light of original archival research, Zhang Zhen examines previously unstudied films and expands the important discussion of how they modeled modern social structures and gender roles in early twentieth-century China. The first volume in the new and groundbreaking series Cinema and Modernity, An Amorous History of the Silver Screen is an innovative—and well illustrated—look at the cultural history of Chinese modernity through the lens of this seminal moment in Shanghai cinema.

When an invitation to a Hollywood wedding arrives in London, Lady Rample and Aunt Butty are living the glamorous life among the rich and famous in California. But when their movie producer host is found dead of a self-inflicted gunshot, they find themselves embroiled in a mystery involving a silver screen starlet, a conniving butler, and kidnapping gangsters! Suspicious from the start, Lady Rample is determined to prove that their friend didn’t commit suicide. Unfortunately, proving murder might end in another murder…her own. Lose yourself in 1930s Hollywood with the latest installment of the popular historical cozy mystery series, Lady Rample Mysteries. cozy mystery, historical mystery, historical cozy mystery, 1930s, humorous mystery, murder mystery, woman sleuth, amateur sleuth, British mystery, historical cozy mystery series, funny mystery series, Alice Duncan, Harper Lin, Matthew Costello, Cosy Mystery