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It’s a Wonderful Life (1946), Resurrection (1980), Poltergeist (1982), Beetlejuice (1988), Ghost (1990), Groundhog Day (1993), The Sixth Sense (1999) — these are only a few of the influential movies in recent decades dealing with the afterlife. But beyond entertainment, do they mean anything? The authors of this wise and well-informed guide believe so. They explore how popular motion pictures, from Outward Bound (1930) to Hereafter, play a perhaps unconscious role in guiding humanity toward its evolutionary comprehension of the meaning and purpose of death. They draw on the Tibetan Book of the Dead, Buddhism, and depth psychology to review some of the most spiritually powerful films ever made. Death is, say the authors, at once the most immediate locked door and the ultimate frontier, a staggering paradox that invites us to search for deeper understanding based upon a level of consciousness beyond thought. After reading this book, you’ll never view Casablanca or The Wizard of Oz the same way again.
This book is a definitive study of love-death-afterlife movies from the 1920s to the present. Scholars of film will appreciate this contribution to the intellectual history of cinema, and cultural critics will enjoy its presentation of the ways in which democracies can use entertainment to prompt unorthodox speculation in matters of the spirit.
The Off-Hollywood Film Guide cuts through the clutter of the thousands of films currently available on video and DVD by specifically catering to independent- and foreign-film enthusiasts. In addition to a list of essential must-see films, this guide includes hundreds of entries, each with brief commentary and a list of pertinent details, such as release date, cast, director, awards garnered, special DVD features, and double-feature suggestions. The listings are also cross-referenced by genre, director, actors, and country of origin. From the Trade Paperback edition.
Get the lowdown on the best fiction ever written. Over 230 of the world’s greatest novels are covered, from Quixote (1614) to Orhan Pamuk’s Snow (2002), with fascinating information about their plots and their authors – and suggestions for what to read next. The guide comes complete with recommendations of the best editions and translations for every genre from the most enticing crime and punishment to love, sex, heroes and anti-heroes, not to mention all the classics of comedy and satire, horror and mystery and many other literary genres. With feature boxes on experimental novels, female novelists, short reviews of interesting film and TV adaptations, and information on how the novel began, this guide will point you to all the classic literature you’ll ever need.
Celebrate the centurys' finest movies in The Rough Guide to 21st Century Cinema, a lavishly illustrated homage to the world's best movies of this new era of cinema. The best 101 films: a run down of the finest films of the millenium from Hollywood blockbusters to indie gems. The hottest stars: features on the up and coming actors and actresses who have made a mark. The winning genres: best-in-class features on drama, comedy, horror, sci-fi, animation, documentary, superhero movies and all the genre-mash ups in between. The unsung heroes: the finest talent behind the camera, including directors, cinematographers, set designers and special effects specialists. The Rough Guide to 21st Century Cinema is the essential companion to movies of the moment. Now available in ePub format.
America's independent films often seem to defy classification. Their strategies of storytelling and representation range from raw, no-budget projects to more polished releases of Hollywood's "specialty" divisions. Yet understanding American indies involves more than just considering films. Filmmakers, distributors, exhibitors, festivals, critics, and audiences all shape the art's identity, which is always understood in relation to the Hollywood mainstream. By locating the American indie film in the historical context of the "Sundance-Miramax" era (the mid-1980s to the end of the 2000s), Michael Z. Newman considers indie cinema as an alternative American film culture. His work isolates patterns of character and realism, formal play, and oppositionality and the functions of the festivals, art houses, and critical media promoting them. He also accounts for the power of audiences to identify indie films in distinction to mainstream Hollywood and to seek socially emblematic characters and playful form in their narratives. Analyzing films such as Welcome to the Dollhouse (1996), Lost in Translation (2003), Pulp Fiction (1994), and Juno (2007), along with the work of Nicole Holofcener, Jim Jarmusch, John Sayles, Steven Soderbergh, and the Coen brothers, Newman investigates the conventions that cast indies as culturally legitimate works of art. He binds these diverse works together within a cluster of distinct viewing strategies and invites a reevaluation of the difference of independent cinema and its relationship to class and taste culture.

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