"I cherish the fun times/laughs I have with my friend/publicist Holly, who is always so "Jolley." Just being in her presence makes me feel comfortable and at home - like I've known her a million years. I know her readers are going to feel the same. the way she words and writes things is in such a smart, but understanding way, no matter the age or the maturity level - it always leaves you wanting more." --Paul Jolley (American Idol - Season 12, Top 9 Finalist) "Holly writes truthful and sincere. I know her writing comes from her heart and her experiences just from knowing her. She was the first one to write up an article about me and my hometown. Very excellent writer. Emm Hmmm." --Duck Dynasty's Mountain Man Are you tired of "How-to" dating books? Well, this is not one of them. Holly Marie Tong's Chick Flicks Lie (Sugar-free Accounts of a Positive Pessimist) features laughable and engaging stories which are relative of today's dating world. Deep down, we all want the kind of love that would chase our departing plane down the tarmac and the kind of love that would try to win us back no matter what the cost. However, real life is often a far cry from a chick flick, and there isn't any background music to accompany it. with sharp wit, continual sarcasm, and non-stop humor, Chick Flicks Lie reminds the single crowd that they aren't alone. the empathetic author believes faith mixed with laughter to be the best medicine for lousy dates and failed relationships. This feel-good book will leave singles feeling understood, while giving them a whole new perspective.

I cherish the fun times/laughs I have with my friend/publicist Holly, who is always so Jolley. Just being in her presence makes me feel comfortable and at home - like Ive known her a million years. I know her readers are going to feel the same. The way she words and writes things is in such a smart, but understanding way, no matter the age or the maturity level - it always leaves you wanting more. Paul Jolley (American Idol - Season 12, Top 9 Finalist) Holly writes truthful and sincere. I know her writing comes from her heart and her experiences just from knowing her. She was the first one to write up an article about me and my hometown. Very excellent writer. Emm Hmmm. Duck Dynastys Mountain Man Are you tired of How-to dating books? Well, this is not one of them. Holly Marie Tongs Chick Flicks Lie (Sugar-free Accounts of a Positive Pessimist) features laughable and engaging stories which are relative of todays dating world. Deep down, we all want the kind of love that would chase our departing plane down the tarmac and the kind of love that would try to win us back no matter what the cost. However, real life is often a far cry from a chick flick, and there isnt any background music to accompany it. With sharp wit, continual sarcasm, and non-stop humor, Chick Flicks Lie reminds the single crowd that they arent alone. The empathetic author believes faith mixed with laughter to be the best medicine for lousy dates and failed relationships. This feel-good book will leave singles feeling understood, while giving them a whole new perspective.

With 11 original essays, this edited volume examines 'chick flicks' within the larger context of 'chick culture' as well as women's cinema. The essays consider chick flicks from a variety of angles, touching on issues of film history, female sexuality, femininity, age, race, ethnicity, and consumerism.

Part journalistic chronicle, part memoir, and 100% pure cultural historical odyssey, "Chick Flicks" captures the birth and growth of feminist film as no other book has done. 22 photos.

Since the mid-eighties, more audiences have been watching Hollywood movies at home than at movie theaters, yet little is known about just how viewers experience film outside of the multiplex. This is the first full-length study of how contemporary entertainment technologies and media—from cable television and VHS to DVD and the Internet—shape our encounters with the movies and affect the aesthetic, cultural, and ideological definitions of cinema. Barbara Klinger explores topics such as home theater, film collecting, classic Hollywood movie reruns, repeat viewings, and Internet film parodies, providing a multifaceted view of the presentation and reception of films in U.S. households. Balancing industry history with theoretical and cultural analysis, she finds that today cinema's powerful social presence cannot be fully grasped without considering its prolific recycling in post-theatrical venues—especially the home.

From An Affair to Remember to Legally Blonde, "chick flicks" have long been both championed and vilified by women and men, scholars and popular audiences. Like other forms of "chick culture," which the editors define as a group of mostly American and British popular culture media forms focused primarily on twenty- to thirtysomething, middle-class—and frequently college-educated—women, chick flicks have been accused of reinscribing traditional attitudes and reactionary roles for women. On the other hand, they have been embraced as pleasurable and potentially liberating entertainments, assisting women in negotiating the challenges of contemporary life. A companion to the successful anthology Chick Lit: The New Woman’s Fiction, this edited volume consists of 11 original essays, prefaced by an introduction situating chick flicks within the larger context of chick culture as well as women’s cinema. The essays consider chick flicks from a variety of angles, touching on issues of film history, female sexuality (heterosexual and homosexual), femininity, female friendship, age, race, ethnicity, class, consumerism, spectatorship, pleasure and gender definition. An afterword by feminist film theorist Karen Hollinger considers the chick flick’s transformation from the woman’s films of the ’40s to the friendship films of the ’80s and those of the "return to the classics" trend of the ’90s, while highlighting the value of the volume’s contributions to contemporary debates and sketching possibilities for further study.

In the second decade of the twenty-first century, the movies, once America’s primary popular art form, have become an endangered species. Do the Movies Have a Future? is a rousing and witty call to arms. In these sharp and engaging essays and reviews, New Yorker movie critic David Denby weighs in on “conglomerate aesthetics,” as embodied in the frenzied, weightless action spectacles that dominate the world’s attention, and “platform agnosticism,” the notion that movies can be watched on smaller and smaller screens: laptops, tablets, even phones. At the same time, Denby reaffirms that movies are our national theater, and in this exhilarating book he celebrates such central big movies as Avatar and The Social Network as well as small but resonant triumphs like There Will Be Blood and The Tree of Life. Denby joyously celebrates what remains of the shared culture in romantic comedy, high school movies, and chick flicks; he assesses the expressive triumphs and failures of auteurs Quentin Tarantino, the Coen brothers, Pedro Almodóvar, and David Fincher. Refusing nostalgia, he mines the past for strength, examining the changing nature of stardom and the careers of Joan Crawford, Otto Preminger, and Victor Fleming, and the continuing self-invention of Clint Eastwood. And he recreates the excitement of reading two critics who embodied the film culture of their times, James Agee and Pauline Kael. Wry, passionate, and incisive, Do the Movies Have a Future? is both a feast of good writing and a challenge to fight back. It is an essential guide for movie lovers looking for ammunition and hope.