A magnificent visual companion to the making of a major feature film by the award-winning director Julie Taymor, about one of the most famous artists and feminists of the twentieth century, Frida Kahlo. This is the true story of Frida Kahlo and her husband Diego Rivera; the larger-than-life painters who became the most acclaimed artists in Mexican history and whose tempestuous love affair, landmark journeys to America and outrageous personalities made them legendary. Filmed entirely on location in Mexico, the film traces Frida's life from her unbridled high school days to her death at age 47. This vivid book includes essays by Kahlo biographer Hayden Herrera, award-winning director Julie Taymor, and actress/producer Salma Hayek. There are also interviews with the cast and crew members, and production notes on the locations, music, costume design and art direction. Excerpts from books about FRIDA, reproductions of artwork, a historical timeline and background sketches on the real figures portrayed in the movie. For fans of FRIDA - the artist, the woman and the film - this book is both a fabulous treat and an invaluable collector's item.

"Climate Change and the New Polar Aesthetics considers the way artists, filmmakers, and activists use polar art to illustrate our current environmental crises as well as to reimagine our world and the ways we engage with it. Examining a wide range of contemporary art, photography, and film, Lisa E. Bloom shows how these works demonstrate the ways that our planetary crises are linked to climate change as well as a long history of colonialism and capitalism. Bloom insists on linking racial, sexual, and gendered discriminatory violence to wider environmental destruction, and she engages feminist, Black, indigenous, and non-western perspectives to address the exigencies of what we are experiencing now as the Anthropocene, or the new geological period characterized by ecosystem failures, rising sea levels, and climate-led migrations"--

The book takes the reader on a cinematic road trip through Hollywood history and Connecticut geography. Illeana Douglas, an actor and film historian from Connecticut, defines how the perception of on-screen Connecticut has shifted more than that of any other New England state over the decades and provides some surprising conclusions about just what it means to be a "Connecticut movie." Filled with behind-the-scenes stories as well as her own personal snapshots of the places where these films were made

Introduction: It's only a movie / Thomas S. Freeman -- A tyrant for all seasons: Henry VIII on film / Thomas S. Freeman -- Saints and cinemas: A man for all seasons / Peter Marshall -- Anne of the thousand days / Glenn Richardson -- Lady Jane Grey on film / Carole Levin -- From Hatfield to Hollywood: Elizabeth I on film / Susan Doran -- Lady in waiting: young Elizabeth Tudor on film / Judith Richards -- Kapur's Elizabeth / Christopher Haigh -- Mary Queen of Scots (1971) / John Guy -- The Armada, war and propaganda in the cinema / Will Coster -- Elizabeth: the golden age: a sign of the times? / Vivienne Westbrook -- Shakespeare in love: Elizabeth I as Dea ex Machina / Brett Usher -- The private lives of Elizabeth and Essex and the romanticization of Elizabethan politics / Paul E.J. Hammer -- Oliver Cromwell and the civil wars / John Morrill -- The unfilmed Oliver Cromwell / David L. Smith -- Winstanley / Christopher Durston -- Why don't the Stuarts get filmed? / Ronald Hutton.

All cities have their secrets, but none are so dark as San Francisco's, the city that Ambrose Bierce famously described as "a point upon a map of fog." With its reputation as a shadowy land of easy vice and hard virtue, San Francisco provided the ideal setting for many of the greatest films noir, from classics like The Maltese Falcon and Dark Passage to obscure treasures like Woman on the Run and D.O.A. , and neo-noirs like Point Blank and The Conversation . Readers visit the Mission Dolores cemetery where James Stewart spied Kim Novak visiting Carlotta's grave in Vertigo ; the Steinhart Aquarium, where a steamy love scene unfolded between Orson Welles and Rita Hayworth in The Lady from Shanghai ; and the Kezar Stadium, where Clint Eastwood captures the serial killer, Scorpio, in a blaze of ghastly white light in Dirty Harry . In this guide to the great films noir and the locations where they were shot, the mythic noir city meets San Francisco's own dark past. With period film stills.

In Visual Occupations Gil Z. Hochberg shows how the Israeli Occupation of Palestine is driven by the unequal access to visual rights, or the right to control what can be seen, how, and from which position. Israel maintains this unequal balance by erasing the history and denying the existence of Palestinians, and by carefully concealing its own militarization. Israeli surveillance of Palestinians, combined with the militarized gaze of Israeli soldiers at places like roadside checkpoints, also serve as tools of dominance. Hochberg analyzes various works by Palestinian and Israeli artists, among them Elia Suleiman, Rula Halawani, Sharif Waked, Ari Folman, and Larry Abramson, whose films, art, and photography challenge the inequity of visual rights by altering, queering, and manipulating dominant modes of representing the conflict. These artists' creation of new ways of seeing—such as the refusal of Palestinian filmmakers and photographers to show Palestinian suffering or the Israeli artists' exposure of state manipulated Israeli blindness —offers a crucial gateway, Hochberg suggests, for overcoming and undoing Israel's militarized dominance and political oppression of Palestinians.

This work suggests that Humphrey Jennings' re-enacted documentary about the London Blitz, Fires Were Started, is an understated propaganda masterpiece. The book provides an account of how Jennings recaptured the reality of the Blitz for his cumbersome camera through a process of meticulous research.