Originally published in 1986, Hollywood Destinies was the first full-length, detailed study of the careers of major European filmmakers, including Ernst Lubitsch, F. W. Murnau, Victor Sjostrom, and Mauritz Stiller, all of whom left their native countries to work in Hollywood during the 1920s. This edition contains recent scholarship on the reception of foreign films and directors in America in the 1920s, analyzes films that were not previously available, and includes a revised and updated bibliography.

From Kristina Adams, author of the bestselling What Happens in… series comes the fourth book in the prequel companion series Hollywood Gossip. Jump back in time to when Tate and Jack were in their late teens, trying to transition from child stars to megastars. Follow them on their journey as they become friends, enemies, and lovers alongside familiar faces from the What Happens in Hollywood Universe and new ones you’re going to love. Tate My new action movie is exactly the kind of role I need to finally shake my image as a child star. But when judgmental colleagues and a megalomaniac director bring up past issues I’d long thought buried, will the price be too high for my mental health? I wish I could talk to Jack about what’s going on at work, but with me filming in Australia, and him working in the States, it’s hard for us to connect. Are we drifting apart all over again? Jack I can’t write. Not since leaving Ibiza. Something about hitting rock bottom has exhausted my creative energy. And if I can’t write music, who am I? Could a career break be just what I need? Or will the lack of focus exacerbate my addiction? Usually I’d go to Tate for advice. She’s my best friend. But after how she found me in Ibiza, the last thing I want to do is burden her all over again. At a time when the world seems to be against them, will these two lovebirds find solace in each other, or will they grow further apart than ever? Hollywood Destiny is part four of the Hollywood Gossip series by Kristina Adams. If you’re looking for a serial will they/won’t they romantic drama about love, hate, and the pressures of fame, you won’t find one that’s more of a rollercoaster read than this.

Hollywood in Crisis is a detailed study of the workings of the American film industry during the 1930s. Colin Schindler, looking at Hollywood as an agent of Roosevelt's New Deal and the attempts made by film moguls and movie makers to withstand the political turmoil that threatened to engulf America. Schindler illustrates how the studios and their products, from the glamour of MGM stars and escapist musicals to gangster movies and Westerns, even to the 'radical' films of the Warner studios, helped foster ideas of social unity and patriotism.

The camera’s movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

The setting is 1920s Berlin, cultural heart of Europe and the era's only serious cinematic rival to Hollywood. In his engaging study, Thomas Saunders explores an outstanding example of one of the most important cultural developments of this century: global Americanization through the motion picture. The invasion of Germany by American films, which began in 1921 with overlapping waves of sensationalist serials, slapstick shorts, society pictures, and historical epics, initiated a decade of cultural collision and accommodation. On the one hand it fueled an impassioned debate about the properties of cinema and the specter of wholesale Americanization. On the other hand it spawned unprecedented levels of cooperation and exchange. In Berlin, American motion pictures not only entertained all social classes and film tastes but also served as a vehicle for American values and a source of sharp economic competition. Hollywood in Berlin correlates the changing forms of Hollywood's contributions to Weimar culture and the discourses that framed and interpreted them, restoring historical contours to a leading aspect of cultural interchange in this century. At the same time, the book successfully embeds Weimar cinema in its contemporary international setting.

The crime film genre consists of detective films, gangster films, suspense thrillers, film noir, and caper films and is produced throughout the world. Crime film was there at the birth of cinema, and it has accompanied cinema over more than a century of history, passing from silent films to talkies, from black-and-white to color. The genre includes such classics as The Maltese Falcon, The Godfather, Gaslight, The French Connection, and Serpico, as well as more recent successes like Seven, Drive, and L.A. Confidential. The Historical Dictionary of Crime Films covers the history of this genre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on key films, directors, performers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about crime cinema. -- from Amazon.com.

Authorship in film has been a persistent theme in the field of cinema studies. This volume of new work revitalizes the question of authorship by connecting it to larger issues of identity--in film, in the marketplace, in society, in culture. Essays range from the auteur theory and Casablanca to Oscar Micheaux, from the American avant-garde to community video, all illuminating how "authorship" is a complex idea with far-reaching implications. This ambitious and wide-ranging book will be essential reading for anyone concerned with film studies and the concept of the author.