Invited by The Guardian newspaper to explore his choice of 100 films in the millennium in a weekly column spanning two years, film writer and critic Derek Malcolm set out on a project which has attracted much attention. This book is a critical celebration of unparalleled knowledge and understanding of what cinema can achieve. Malcolm not only pleases to filmgoers, but introduces readers to films that they may not yet have discovered.

The Pulitzer Prize-winning film critic assembles and introduces more than one hundred essays and articles about film, with entries by and about movie stars, famous directors, industry executives, and critics. Tour.

Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change.

Foreign films once enjoyed a position of prominence on American theater screens. By the start of World War I, however, the United States' film industry was strong enough to challenge that foreign presence and foreign films in America have been insignificant ever since. For about a century, the Hollywood cartel has dominated the production, distribution, and exhibition of movies domestically and around the world. This work traces the history of the foreign film in America from its domination in the early days to its low standing in the present, looking at the attempts made by foreign producers to increase their presence on American cinema screens, the responses by Hollywood to those attempts, and the oligopoly of Hollywood's few producers. The work discusses the cultural differences between foreign artistic expression and the commercialism of the American film and analyzes Hollywood's explanations for the lack of a foreign presence: Americans have "unique" tastes, they don't like subtitles, foreign films are immoral or badly made, trade union pressure, and so on. An appendix detailing the all-time gross earnings of foreign-language films and a full bibliography conclude the work, which is illustrated with stills and posters.

One of the world’s most erudite and entertaining film critics on the state of cinema in the post-digital—and post-9/11—age. This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema’s most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E, Avatar and Inception.