Paul Frees, known as the Man of a Thousand Voices, was more than an actor providing the unforgettable voices of such amusing, animated cartoon characters as Boris Badenov on The Rocky and Bullwinkle Show and The Pillsbury Doughboy, the Ghost Host in Walt Disney's Haunted Mansion at Disneyland and Walt Disney World, and narrator of classic films, such as The Manchurian Candidate (1962) and The Shaggy Dog (1959). He was also an accomplished artist. Author, publisher, and history detective Ben Ohmart recently discovered a creative cache of Frees' scripts, lyrics, songs, paintings, and furniture designs that were unearthed only recently and never before seen by the public. Includes a full-length screenplay, The Demon from Dimension X, and unused material once written for satirical musician Spike Jones.

Invasion of the Body Snatchers starring Kevin McCarthy and Dana Wynter is one of the most revered films in international film history. For many critics it began the serious cycle of science fiction films that now include "Alien" and "Blade Runner." Thanks to the novel by Jack Finney, the screenplay by Daniel Mainwaring and especially the direction of Don Siegel, "Invasion" runs on television somewhere virtually every day. This original book brings together interviews with Kevin McCarthy and Dana Wynter and also includes pieces by Dean Koontz (the introduction), Stephen King (an essay); and interviews with Philip Kaufman, who directed the 1978 remake; Robert H. Solo, who produced the remake; W. D. Richter, who wrote the remake; and Abel Ferrara, who directed the 1997 remake. Packed with insights into the production of a classic film, filled with moments of humor and a few moments of angst, and as entertaining as a "behind the scenes" look at the movie business. Join us in this tribute to Invasion of the Body Snatchers.

""Film in the Battle of Ideas"" is a book written by John Howard Lawson, a screenwriter and member of the Hollywood Ten who was blacklisted during the McCarthy era. The book explores the role of film in shaping public opinion and political ideology, particularly in the United States during the 1930s and 1940s. Lawson argues that film is a powerful tool for propaganda and that Hollywood has the ability to shape public opinion and influence political discourse. He examines the ways in which films have been used to promote various political ideologies, including fascism, communism, and capitalism, and argues that filmmakers have a responsibility to use their medium for the greater good. The book also delves into the political and cultural climate of Hollywood during the time period, including the effects of the Hays Code and the Red Scare. Overall, ""Film in the Battle of Ideas"" is an insightful and thought-provoking analysis of the intersection between film and politics.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.

This book analyzes seven important works in the field of Modern Hebrew fiction that were translated to English and adapted into films. The author presents a brief history of Modern Hebrew literature, and a brief survey of Israeli cinema and of the adaptation of Israeli prose fiction into films. The chapters include a presentation of the literary world of the author whose work is studied and an itemization of his literary works in English translations. At the end of each chapter there is a discussion of the cinematic adaptation of the literary work studied in that chapter followed by a bibliography.

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