If blockbusters make money no matter how bad they are, then why not make a good one for a change? How can 3-D be the future of cinema when it's been giving audiences a headache for over a hundred years? Why pay to watch films in cinemas that don't have a projectionist but do have a fast-food stand? And, in a world where Sex and the City 2 was a hit, what are film critics even for? Outspoken, opinionated and hilariously funny, The Good, The Bad and The Multiplex is a must for anyone who has ever sat in an undermanned, overpriced cinema and wondered: 'How the hell did things get to be this terrible?'
Starting with the celebrated TV fight between Ken Russell and Alexander Walker and ending with his own admission to Steven Spielberg of a major error of judgement, Mark Kermode takes us on a journey across the modern cinematic landscape.
Whatever your ailment, the nation's best-loved film experts have the perfect cinematic prescription for you, whether it's a course of the Coens or a dose of Die Hard. And they're ready to cure the movies to,, taking their scalpels to bloated blockbusters and warning of the ill effects of overpraise. Where medical ignorance and movie expertise meet - the surgery of Doctors Kermode and Mayo is now open.
Jason Steadman is a thirty-year-old sales executive living in Boston and working for an electronics giant, a competitor to Sony and Panasonic. He's a witty, charismatic guy who's well liked at the office, but he lacks the "killer instinct" necessary to move up the corporate ladder. To the chagrin of his ambitious wife, it looks as if his career has hit a ceiling. Jason's been sidelined. But all that will change one evening when Jason meets Kurt Semko, a former Special Forces officer just back from Iraq. Looking for a decent pitcher for the company softball team, Jason gets Kurt, who was once drafted by the majors, a job in Corporate Security. Soon, good things start to happen for Jason—and bad things start to happen to Jason's rivals. His career suddenly takes off. He's an overnight success. Only too late does Jason discover that his friend Kurt has been secretly paving his path to the top by the most "efficient"—and ruthless— means available. After all, as Kurt says, "Business is war, right?" But when Jason tries to put a stop to it, he finds that his new best friend has become the most dangerous enemy imaginable. And now it's far more than just his career that lies in the balance. A riveting tale of ambition, intrigue, and the price of success, Killer Instinct is Joseph Finder at his best. *San Francisco Chronicle ** Pittsburgh Post Gazette
A comprehensive compendium of cult website Den of Geek's most popular articles combined with new material to create the ultimate alternative encyclopedia of film.
Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic, comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange, in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic, book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange, and an introductory account of the central themes of the philosophical classic The Republic, this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick.
Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.
A deeply-reported examination of why "doing what you love" is a recipe for exploitation, creating a new tyranny of work in which we cheerily acquiesce to doing jobs that take over our lives. You're told that if you "do what you love, you'll never work a day in your life." Whether it's working for "exposure" and "experience," or enduring poor treatment in the name of "being part of the family," all employees are pushed to make sacrifices for the privilege of being able to do what we love. In Work Won't Love You Back, Sarah Jaffe, a preeminent voice on labor, inequality, and social movements, examines this "labor of love" myth—the idea that certain work is not really work, and therefore should be done out of passion instead of pay. Told through the lives and experiences of workers in various industries—from the unpaid intern, to the overworked teacher, to the nonprofit worker and even the professional athlete—Jaffe reveals how all of us have been tricked into buying into a new tyranny of work. As Jaffe argues, understanding the trap of the labor of love will empower us to work less and demand what our work is worth. And once freed from those binds, we can finally figure out what actually gives us joy, pleasure, and satisfaction.
Is there more to going to the movies than just mindless entertainment? Author Gareth Higgins, avid moviegoer and film critic, says there is. How Movies Helped Save My Soul is a guidebook for looking at films and finding hidden spiritual truths. With chapters on fear, God, justice, love, power, and more, Higgins teaches how to make sense of the spiritual by looking at films with a new perspective. From The Matrix to Magnolia, Fight Club to Field of Dreams, Higgins takes the reader through more than 200 films that, if looked at the right way, just might change lives. Movie buffs and novices alike will find much to enjoy, provoke, amuse, challenge and confound in How Movies Helped Save My Soul. Book jacket.
