Movie History

A must-listen for movie buffs, The Trouble with Love in the Movies is a painfully honest account of labouring in the fields of film production, of loving and losing, living and learning. Through six movies, across three continents, in clashes on and off the set: It's a romance.

Lucas: His Hollywood Legacy is the first collection to bring a sustained scholarly perspective to the iconic filmmaker and his legacy beyond the Star Wars films. Edited by Richard Ravalli, this volume analyzes Lucas's overall contribution and importance to the film industry, diving deep into his use and development of modern special effects technologies, the history of his Skywalker Ranch production facilities, and more.

It's one of the greatest movie romances of all time. Yet the friction and controversy surrounding The Way We Were was so enormous, the movie was nearly never made at all. Drawing on Laurents's and Pollack's unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and defined romance ever since.

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.

We'll Always Have Casablanca is celebrated film historian Noah Isenberg's rich account of this most beloved movie's origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca's production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, and the effect of the war's progress on the movie's reception.

Movies under the Influence charts the entangled histories of moviegoing and mind-altering substances from early cinema through the psychedelic 1970s. Jocelyn Szczepaniak-Gillece examines how the parallel trajectories of these two aspects of American culture resulted in them being treated and regulated in similar ways. Rather than looking at drug use within film, she regards cinema and intoxicants as kindred experiences of immersion that have been subject to corresponding forces of ideology and power.

In It's Only a Movie, the incomparable Mark Kermode took us into the weird world of a film critic's life lived in widescreen. Now, The Good, The Bad and the Multiplex takes us into the belly of the beast to ask: 'What’s wrong with the modern movie business – and how can we make it right?'

In his first memoir, Ander Monson guides listeners through a scene-by-scene exploration of the 1987 film Predator, which he has watched 146 times. Some fighters might not have time to bleed, but Monson has the patience to consider their adventure, one frame at a time. He turns his obsession into a lens through which he poignantly examines his own life, formed by mainstream white male American culture.

Premiering the day after the JFK assassination, Doctor Who humbly launched one of the entertainment world's first super-brands. We begin with a look at TV programming of the day and the original pitch documents before delving into the Daleks, which almost didn't make the cut but inspired many monsters to follow. After three years, First Doctor William Hartnell left, prompting the BBC to recast their hit rather than end it, giving us the first "regeneration" and making TV history.

When Maziar Bahari left London in June 2009 to cover Iran's presidential election, he assured his pregnant fiancée, Paola, that he'd be back in just a few days, a week at most. Little did he know, as he kissed her good-bye, that he would spend the next three months in Iran’s most notorious prison, enduring brutal interrogation sessions at the hands of a man he knew only by his smell: Rosewater.

Ten office workers in Boston started out sitting in a circle and sharing the problems they encountered on the job. In a few short years, they had built a nationwide movement that united people of diverse races, classes, and ages. They took on the corporate titans. They leafleted and filed lawsuits and started a woman-led union. They won millions of dollars in back pay and helped make sexual harassment and pregnancy discrimination illegal. The women office workers who rose up to win rights and respect on the job transformed workplaces throughout America.

1974 was a busy year for Mel Brooks. Although still recovering after a series of failed projects threatened his career, he pulled off a one-two punch that saw the release of two of the most beloved American comedies ever made: Blazing Saddles and Young Frankenstein. Although both films are well-known, the stories beyond the making of each movie are less so. How did they come to be, and how did the era's culture and politics not only permit them to be made, but help them to become enduring comedy classics?

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.

Based on exclusive interviews with the surviving cast and crew, friends and families of the stars, and other Hollywood insiders, Killin' Generals is a riveting must-listen for film buffs, military fans, and anyone who loves a down-and-dirty adventure tale. Detailed, insightful, and gossipy, Epstein's homage spotlights the movie's endless barrage of cinematic gold.

Melanin in Movies examines how Hollywood shapes the perception of Black Americans. This book challenges the idea that Hollywood is just about entertainment, exploring how the film industry actively influences society's view of Black people. By analyzing key examples and trends in Black representation, Melanin in Movies reveals how film can be both a tool for liberation and a means of oppression.

Today, more than 70 years after it premiered, Sunset Boulevard remains the finest ever movie made about the pathology of fame: those who lose it, those who abuse it, and those who never attain it at all. By exploring the history of Sunset Boulevard in time for the movie’s 75th anniversary, from its inception to its making to its present-day legacy, Ready for My Closeup breathes life into a beloved masterpiece of American cinema.

Movie Nightcap continues its series of exclusive episodes known as the Reserve Collection. In this high octane follow-up, hosts Jill Tighe, Abe Saffer, and Nate Fisher bring you more antics, more beer, and of course, more movies. For Volume 2, the hosts further explore the world of beer and movies and sit down with artists from both industries. We hope you enjoy this collection of episodes that is equal parts comedy, education, and passionate conversation.

What did President Ronald Reagan think of Rocky IV? How did the Matthew Broderick film WarGames inform America's missile defense system? What Michael J. Fox movie made such an impression on President Reagan that he felt compelled to mention it in a speech to the Joint Session of Congress? Over the course of eight years, Mark Weinberg travelled to Camp David each weekend with Ronald and Nancy Reagan.

With remembrances from J. K. Rowling's editors, agents, publicists, fans, and Rowling herself, Melissa Anelli takes us on a personal journey through every aspect of the Harry Potter phenomenon - from his very first spell to his lasting impact on the way we live and dream.

In the summer of 1970, legendary but self-destructive director Orson Welles returned to Hollywood from years of self-imposed exile in Europe and decided it was time to make a comeback movie. It was about a legendary self-destructive director who returns to Hollywood from years of self-imposed exile in Europe. Welles swore it wasn't autobiographical.