The film Yol (The Road) is a landmark in Türkiye’s cinema history, not only because it shared the Palme d’Or with Missing by Greek-born French director Konstantinos Gavras at the 35th Cannes Film Festival in 1982, but also because it was the first film from Türkiye to receive the highly prestigious Golden Palm. Şerif Gören directed the film, but the award was given to Yılmaz Güney (Pütün), the screenwriter and one of the editors of the film, who was present at the festival. The award was given to Güney, not on behalf of Şerif Gören, but instead of the film’s director, and The Road was publicised both at the festival and in the following period as “a Yılmaz Güney film”. Even today, many popular or academic publications, including the official website of the Cannes Film Festival, credit Güney as the director of the film, despite his imprisonment during the entire preparation and shooting process. Strikingly, in the majority of these sources, the name of the film’s real director, Şerif Gören, is either not mentioned at all or is given after Güney’s in small letters. This study hopes to correct several (film) historical records as well as a historical injustice against Gören. I also hope that this text will inspire Şerif Gören to break his silence, the reason of which I cannot understand, and allow us to learn new things about one of the most important filmmakers in Türkiye’s cinema and his films through a dialogue or discussion environment that can ensue.

This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.

This book is in great demand by baseball enthusiasts. Having been connected with every department of the game from player to magnate, Mr. Spalding has contributed a very important work to the game's history. As the invincible pitcher of the Boston Club, previous to the formation of the National League, his book of so many pages is an interesting record of events dating from the beginning of the great American pastime. It is not exactly a history of the game, but deals largely with incidents during the author's career, who was a player in the late 1860s and early 1870s, and helped organize the National League in 1876. One chapter, devoted to sundry topics, gives an account of the sale of the immortal "King Kelly," the original "$10,000 beauty," by Chicago to the Boston Club in the late 1880s. Other Chapters are devoted to the literature of the game, quoting several instances of the baseball paragrapher's art and also specimens of the distinct poetry of the pastime, of which "Casey at the Bat" is probably the most widely known. The Cincinnati Red Stockings Mr. Spalding gives credit as being the pioneer professional organization. It was not, however, until 1871 that professional baseball playing, as recognized today, was instituted. Mr. Spalding shows how cricket could not do for Americans. He says it is suitable for the British temperament, but not for the Yankee hustling spirit. He also tells how he worked into the game through a one-handed catch when a small boy. To lovers of baseball, whose name is legion, and whose number increases yearly, this book comprises in itself a whole library of useful information.

This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world’s films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic. The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World’s most striking film innovators. In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema. Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume.

This autobiographical film history provides recounts Saville's experience on the Western Front during World War I and includes stories of filmmaking in Britain and America during the transition from silent to sound cinema, and then from black-and-white to color. It also gives a glimpse into Hollywood as it existed in the late 1930s and early 1940s, emphasizing Saville's work with stars like Spencer Tracy, Katharine Hepburn, Joan Crawford, Ingrid Bergman, Lana Turner, Elizabeth Taylor, Errol Flynn, and Paul Newman. Annotation copyrighted by Book News Inc., Portland, OR