This volume offers readable summaries, elaborations, and explanations of his sometimes complex and demanding theories of film.

A pioneering figure in film studies, Christian Metz proposed countless new concepts for reflecting on cinema, rooted in his phenomenological structuralism. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionalisation in universities worldwide. This book brings together a stellar roster of contributors to present a close analysis of Metz's writings, their theoretical and epistemological positions, and their ongoing influence today.

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinéma: langue ou langage?'"—Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."—Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [Film Language] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."—Stephen Heath, Screen

Close readings that look for "the real Los Angeles" in a selection of contemporary movies. Los Angeles is a global metropolis whose history and social narrative is linked to one of its top exports: cinema. L.A. appears on screen more than almost any city since Hollywood and is home to the American film industry. Historically, conversations of social and racial homogeneity have dominated the construction of Los Angeles as a cosmopolitan city, with Hollywood films largely contributing to this image. At the same time, the city is also known for its steady immigration, social inequalities, and exclusionary urban practices, not dissimilar to any other borderland in the world. The Spanish names and sounds within the city are paradoxical in relation to the striking invisibility of its Hispanic residents at many economic, social, and political levels, given their vast numbers. Additionally, the impact of the 1992 Los Angeles riots left the city raw, yet brought about changing discourses and provided Hollywood with the opportunity to rebrand its hometown by projecting to the world a new image in which social uniformity is challenged by diversity. It is for this reason that author Celestino Deleyto decided to take a closer look at how the quintessential cinematic city contributes to the ongoing creation of its own representation on the screen. From Tinseltown to Bordertown: Los Angeles on Film starts from the theoretical premise that place matters. Deleyto sees film as predominantly a spatial system and argues that the space of film and the space of reality are closely intertwined in complex ways and that we should acknowledge the potential of cinema to intervene in the historical process of the construction of urban space, as well as its ability to record place. The author asks to what extent this is also the city that is being constructed by contemporary movies. From Tinseltown to Bordertown offers a unique combination of urban, cultural, and border theory, as well as the author's direct observation and experience of the city's social and human geography with close readings of a selection of films such as Falling Down, White Men Can't Jump, and Collateral. Through these textual analyses, Deleyto tries to situate filmic narratives of Los Angeles within the city itself and find a sense of the "real place" in their fictional fabrications. While in a certain sense, Los Angeles movies continue to exist within the rather exclusive boundaries of Tinseltown, the special borderliness of the city is becoming more and more evident in cinematic stories. Deleyto's monograph is a fascinating case study on one of the United States' most enigmatic cities. Film scholars with an interest in history and place will appreciate this book.

The hilarious and heartwarming novel about everyone’s favorite klepto-kitty, MacGyver, an adorably mischievous tabby with a talent for thievery and a sideline in helping the humans in his life find the love they deserve… She’s putting her love life on paws… but her cat has other ideas! Jamie Snyder is thirty-four and single but NOT ready to mingle. After suffering through The Year of the Non-Commital Man, The Year of the Self-Absorbed Man, and The Year of the Forgot-to-Mention-I’m-Married Man, Jamie’s ready to celebrate The Year of Me—and MacGyver, of course. MacGyver is an adorable tabby with a not-so-adorable habit of sneaking out at night and stealing things from the neighbors. That’s right, MacGyver is a cat burglar. He’s still the only male Jamie trusts—and the only companion she needs. MacGyver knows his human is lonely. He can smell it. It’s the same smell he’s noticed on their neighbor David, a handsome young baker who’s tired of his friends trying to fix him up. But now MacGyver’s on the case. First, he steals something from David and stashes it at Jamie’s. Then, he steals something from Jamie and leaves it with David. Before long, the two are swapping stolen goods, trading dating horror stories, and trying not to fall in love. But they’re not fooling MacGyver. When humans generate this much heat, the cat is out of the bag . . .