Movie History

Nineteen-year-old Greg Sestero met Tommy Wiseau at an acting school in San Francisco. Wiseau's scenes were rivetingly wrong, yet Sestero, hypnotized by such uninhibited acting, thought, "I have to do a scene with this guy." That impulse changed both of their lives. The Disaster Artist is Greg Sestero's laugh-out-loud funny account of how Tommy Wiseau defied every law of artistry, business, and friendship to make "the Citizen Kane of bad movies" ( Entertainment Weekly), which is now an international phenomenon.

The men of the 77th Infantry Division couldn't fathom why Private Desmond T. Doss would venture into the horrors of World War II without a single weapon to defend himself. "You're nothing but a coward!" they said. But the soft-spoken medic insisted that his mission was to heal, not kill. When Desmond knelt by his bunk to pray, his fellow soldiers hurled boots and insults at him. Even his commander wanted to throw him out of the army. But when his unit arrived on the battlefield, the intrepid medic quickly proved he was no coward.

Instead of focusing on one service, like HBO, Pandora’s Box asks, “What did HBO do, besides give us The Sopranos?” The answer: It gave us a revolution. Biskind bites off a big chunk of entertainment history, following HBO from its birth into maturity, moving on to the basic cablers like FX and AMC, and ending up with the streamers and their wars, pitting Netflix against Amazon Prime Video, Max, and the killer pluses—Disney, Apple TV, and Paramount.

In this collector's companion, you will discover never-before-seen photographs, never-before-told stories, and never-before-revealed secrets spanning all three seasons of the hilariously twisted, critically acclaimed hit series. You will encounter original concept art, annotated script excerpts, and interviews with the creative team and all-star cast, as well as glossaries, recipes, lyric sheets, hidden Easter eggs, shocking backstories, and suspicious pages from the titular tome, unredacted and revealed here for the first time.

From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented.

Dark City expands with new chapters and a fresh collection of restored photos that illustrate the mythic landscape of the imagination. It's a place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life.

The future has amazing technology. Our alien allies have magic. Together, we are building a training system to teach the best of humanity to go to the stars. But the training is monumentally expensive. Stephanie Morgana is a genius, she just doesn't know it. Join her on the first half of her adventure with this collected edition, including the first three megabooks in the Federal Histories series.

When the head of Columbia Pictures, David Begelman, got caught forging Cliff Robertson's name on a $10,000 check, it seemed, at first, like a simple case of embezzlement. It wasn't. The incident was the tip of the iceberg, the first hint of a scandal that shook Hollywood and rattled Wall Street.

From the earliest days of silent films and the swinging era of the Roaring Twenties, through the Golden Age of the studio system and the patriotic call of WWII, to the Red Scare paranoia of the McCarthy years, the history of the Schenck brothers is the story of Hollywood itself—and the enduring power of the American Dream. Moguls is a must-listen for film fans, history buffs, and anyone who loves the movies.

In her acclaimed 1993 book, Denying the Holocaust, Deborah Lipstadt called David Irving, a prolific writer of books on World War II, "one of the most dangerous spokespersons for Holocaust denial". The following year, after Lipstadt's book was published in the United Kingdom, Irving led a libel suit against Lipstadt and her publisher. Denial, previously published as History on Trial, is Lipstadt's riveting, blow-by-blow account of this singular legal battle.

Now middle-aged, Meadows seeks out his former captors in their civilian lives to help him bury his son, a Marine killed in Iraq, in Arlington National Cemetery. When he learns that the authorities have told him a lie about the circumstances of his son's death, he decides, with the help of the two others, to transport him home to Portsmouth. And so begins the journey, centered around a solemn mission, but, as in the first book, a protest against injustice and celebration of life, too, at once irreverent, funny, profane, and deeply moving.

On December 26, 1973, The Exorcist was released. Within days it had become legend. Moviegoers braved hours-long lines in winter weather to see it. Some audience members famously fainted or vomited. Half a century later, the movie that both inspired and transcends the modern horror genre has lost none of its power to terrify and unsettle. The Exorcist Legacy reveals the complete story of this cultural phenomenon, from the real-life exorcism in 1949 Maryland that inspired William Peter Blatty's bestselling novel on which the movie is based, to its many sequels, prequels, TV series, and homages.

David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today's bloated blockbusters. American filmmakers have created a durable tradition - one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960.

Apocalypse Television features a dramatic insider's account of the making of and backlash against The Day After. No other book has told this story in similar fashion, venturing behind-the-scenes of the programming and news divisions at ABC, the backlash from the conservative movement and Religious Right, the challenges encountered by the film's production team, and the experiences of the citizens of Lawrence, Kansas, where the film was set and shot.

Walt Disney always loved to entertain people. Often it got him into trouble. Once he painted pictures with tar on the side of his family's white house. His family was poor, and the happiest time of his childhood was spent living on a farm in Missouri. His affection for small-town life is reflected in Disneyland Main Streets around the world. This biography reveals the man behind the magic.

Jeanne Marie Laskas first met the young forensic pathologist Dr. Bennet Omalu in 2009, while reporting a story for GQ that would go on to inspire the movie Concussion. Omalu told her about a day in September 2002, when, in a dingy morgue in downtown Pittsburgh, he picked up a scalpel and made a discovery that would rattle America in ways he’d never intended. Omalu was new to America, chasing the dream, a deeply spiritual man escaping the wounds of civil war in Nigeria.

Fifteen-year-old Lina is a Lithuanian girl living an ordinary life - until Soviet officers invade her home and tear her family apart. Separated from her father and forced onto a crowded train, Lina, her mother, and her young brother make their way to a Siberian work camp, where they are forced to fight for their lives. Lina finds solace in her art, documenting these events by drawing. Risking everything, she embeds clues in her drawings of their location and secretly passes them along, hoping her drawings will make their way to her father's prison camp.

Baldwin's personal reflections on movies gathered here in a book-length essay are also a probing appraisal of American racial politics. Offering an incisive look at racism in American movies and a vision of America's self-delusions and deceptions, Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist.

"The meaning of life is the most urgent of questions", said the existentialist thinker Albert Camus. And no less a philosopher than Woody Allen has wondered: "How is it possible to find meaning in a finite world, given my waist and shirt size?" The essays in Movies and the Meaning of Life look at popular and cult movies, examining their assumptions and insights on meaning-of-life questions....

The future has amazing technology. Our alien allies have magic. Together, we are building a training system to teach the best of humanity to go to the stars. But the training is monumentally expensive. Stephanie Morgana is a genius, she just doesn't know it. The artificial intelligence that runs the virtual world is charged with testing Stephanie, a task it has never performed before. Will Stephanie pass the test and be moved to the advanced preparatory schools, or will the system miss her?