How does film censorship work in Britain? Robertson examines the history of the British Board of Film Censors and shows that censorship has had a greater influence on film history than is often assumed.

How does film censorship work in Britain? Jim Robertson's new paperback edition of The Hidden Cinema argues that censorship has had a far greater influence on British film history than is often apparent, creating the `hidden cinema' of the title. Robertson charts the role of the British Board of Film Censors, established in 1913, and the histories of a variety of noteworthy films including Battleship Potemkin and No Orchids for Miss Blandish and revealing how censorship continues to exert a marked influence on many important films - like the controversial A Clockwork Orange - some of which have now vanished from British screens altogether. This edition includes a brand new section on Bernardo Bertolucci's Last Tango in Paris, immediately engulfed in censorship wrangles on its release in 1972.

Get ready to spot hundreds of things you've never seen before across a wide range of films, in this brand new book from the creator of Den Of Geek. From the small references and inspirations, through to clues, hidden meanings and moments in frame that you may have simply missed, this indispensable guide is both a love letter to cinema, and a jam-packed treasure trove that no film fan will want to miss!

Carriere, whose screenwriting credits include The Tin Drum, The Unbearable Lightness of Being, and Cyrano de Bergerac, explores the vocabulary of the visual language of film. Filled with anecdote and insight, this book provides readers with an illuminating new way to see and enjoy the movies.

"... offers a range of approaches to cinema's explorations of a hidden or absent God through a group of essays by thirty-five writers who discuss some fifty movies"--p. 11.

You know film noir when you see it: the shadowed setting; the cynical detective; the femme fatale; and the twist of fate. Into the Dark captures this alluring genre with a cavalcade of compelling photographs and a guide to 82 of its best films. Into the Dark is the first book to tell the story of film noir in its own voice. Author Mark A. Vieira quotes the artists who made these movies and the journalists and critics who wrote about them, taking readers on a year-by-year tour of the exciting nights when movies like Double Indemnity, Mildred Pierce, and Sunset Boulevard were sprung on an unsuspecting public. For the first time, we hear the voices of film noir artists speak from the sets and offices of the studios, explaining the dark genre, even before it had a name. Those voices tell how the genre was born and how it thrived in an industry devoted to sweetness and light. Into the Dark is a ticket to a smoky, glamorous world. You enter a story conference with Raymond Chandler, visit the set of Laura, and watch Detour with a Midwest audience. This volume recreates the environment that spawned film noir. It also displays the wit and warmth of the genre's artists. Hedda Hopper reports on Citizen Kane, calling Orson Welles "Little Orson Annie." Lauren Bacall says she enjoys playing a bad girl in To Have and Have Not. Bosley Crowther calls Joan Crawford in Possessed a "ghost wailing for a demon lover beneath a waning moon." An Indiana exhibitor rates the classic Murder, My Sweet a "passable program picture." Illustrated by hundreds of rare still photographs, Into the Dark conveys the mystery, glamour, and irony that make film noir surpassingly popular. About TCM: Turner Classic Movies is the definitive resource for the greatest movies of all time. It engages, entertains, and enlightens to show how the entire spectrum of classic movies, movie history, and movie-making touches us all and influences how we think and live today.

Although we tend to accord our highest praise to films with strong messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate Hollywood's classic movies, we have to understand them as the result of a style of filmmaking that justifies itself through the grace and beauty of its form. This beauty, when seen, challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. The Hidden Art of Hollywood draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film. While the greatness of the classic Hollywood film is, for many of us, settled business, there are also a great number who have difficulty understanding why these films—which can often seem dated and unrealistic compared to modern fare—are taken as seriously as they are. Although we tend to accord our highest praise to films with strong and often didactic messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate classic American movies, we have to understand them as the result of a style of filmmaking that justifies itself not through ideas or social relevance, but through the grace and beauty of its form. The beauty of the Hollywood film challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. In his effort to answer the many questions that classic American cinema suggests, author John Fawell considers previous criticism of Hollywood, but also draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film. The films of certain great auteurs, including Charlie Chaplin, Ernst Lubitsch, Preston Sturges, Alfred Hitchcock, Billy Wilder, John Ford, and Orson Welles, receive particular attention here, but this book is organized by ideas rather than films or artists, and it draws from a wide array of Hollywood films, both successes and failures, to make its points.