Kiss Kiss Bang Bang is virtually an informal history of the movies. This volume deals with over 300 of them, some essay length, some in short sharp paragraphs. From Bonnie and Clyde to Blow Up, Miss Kael praises, damns and displays her extraordinary grasp of films, film-makers, techniques and film history.

A deep dive into the emergence and success of independent filmmaking in America A Los Angeles Times Bestseller The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences. Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ( Fargo ), Quentin Tarentino ( Pulp Fiction ), and Billy Bob Thornton ( Sling Blade ), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style. Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience. Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including Choose Me , Stranger Than Paradise , Blood Simple , Blue Velvet , Desperately Seeking Susan , Slacker , Poison , Reservoir Dogs , Gas Food Lodging , Menace II Society , Clerks , In the Company of Men , Chasing Amy , The Apostle , The Opposite of Sex , and Happiness . Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

Max Britsky rises, by the time he is thirty, from the tumultuous streets of turn-of-the-century New York to control of the first great Hollywood studio--through brawls, loves, triumphs, and betrayals Max Britsky rises, by the time he is thirty, from the tumultuous streets of turn-of-the-century New York to control of the first great Hollywood studio--through brawls, loves, triumphs, and betrayals

More thon forty years ago, Robert Warshow wrote that "the unresolved problem of 'popular culture' . . . has come to be a kind of nagging embarrassment to criticism." Despite the rise of academic trends like cultural studies, we don't have a criticism that speaks to the actual, immediate experience of seeing and responding to popular culture. Warshow argued that the evasion of the popular arts in his time was due to a "disastrous vulgarization of intellectual life" that corrupted American liberalism from the 1930s to the 1950s. Political correctness then, like political correctness since the 1960s, had led to "organized mass disingenuousness" on the part of intellectuals who turned away from developing a vocabulary for describing the immediate, aesthetic experience and used irony instead, even about their own experiences. But, says Warshow, "a whole literature cannot be built on irony." Warshaw died a young man of 37 in 1955, but he left as his legacy a series of essays for The Partisan Review, Commentary, The Nation, and other journals. These writings, the cornerstone of a major account of the role of mass culture in our lives, were first gathered and published as a book in 1962. A number of essays have been anthologized frequently, and the book as a whole has achieved cult status for a number of discerning critics. "A legendary little book, partly because its author died at the age of 37, but mostly because it stands as a virtually unique representative from its period of a consistently open-minded, moral, aesthetic, and political engagement with commercial culture." -Louis Menand

To movie audiences, the work of Andrew Marton (born in Hungary in 1904) is memorable: the famous chariot race in Ben-Hur and the meticulously accurate Normandy invasion in The Longest Day are two of his important achievements. But because his credits were very often "Second Unit Director" or "Co-Director," Marton is often not immediately associated with his work. For the first time this oral history reveals just what were Andrew Marton's contributions to the cinema. This extensive interview, filled with great detail on how he did his movie magic, covers Marton's 55-year career. Technically clever, he always retained his humanity, humor, and humaneness.

“House on Haunted: A William Castle Annotated Screamplay” is the never-before-seen working script from William Castle’s archives. "House on Haunted Hill" (written by Robb White) is a renowned work of producer and director William Castle, beloved for his signature-style fright-filled films and delivering “the gimmick” to the horror genre. "House on Haunted Hill" stars the inimitable Vincent Price and Emergo the skeleton who famously flew through theaters and taunted live audiences. "House on Haunted Hill: A William Castle Annotated Screamplay" features original script formatting, maintaining the integrity of the authentic screenplay replete with Castle’s hand-written notes and actual leather-bound style of design that he used for every movie he made. William Castle Productions is offering this book complete with Emergo, simply sift through the pages back to front and scare yourself silly. The William Castle Annotated Screamplay for House on Haunted Hill includes a foreword by prolific director Joe Dante (Gremlins, The Howling). Dante calls House on Haunted Hill “an artifact worth having” and a “seminal 1950s picture”. It also includes an introduction by William Castle’s daughter, Terry Castle, who shares a personal perspective on this seminal piece of film history. And a historical perspective of the film by writer and illustrator Charlie Largent.

What is marriage? Can a relationship dedicated to equality, friendship, and mutual education flower in an atmosphere of romance? What are the paths between loving another and knowing another? Stanley Cavell identified a genre of classic American films that engaged these questions in his study of comedies of remarriage, Pursuits of Happiness . With Contesting Tears , Cavell demonstrates that a contrasting genre, which he calls "the melodrama of the unknown woman," shares a surprising number and weave of concerns with those comedies. Cavell provides close readings of four melodramas he finds definitive of the genre: Letter from an Unknown Woman , Gaslight , Now Voyager , and Stella Dallas . The women in these melodramas, like the women in the comedies, demand equality, shared education, and transfiguration, exemplifying for Cavell a moral perfectionism he identifies as Emersonian. But unlike the comedies, which portray a quest for a shared existence of expressiveness and joy, the melodramas trace instead the woman's recognition that in this quest she is isolated. Part of the melodrama concerns the various ways the men in the films (and the audiences of the films) interpret and desire to force the woman's consequent inaccessibility. "Film is an interest of mine," Stanley Cavell has written, "or say a love, not separate from my interest in, or love of, philosophy." In Contesting Tears Cavell once again brilliantly unites his two loves, using detailed and perceptive musings on melodrama to reflect on philosophical problems of skepticism, psychoanalysis, and perfectionism. As he shows, the fascination and intelligence of such great stars as Ingrid Bergman, Bette Davis, and Barbara Stanwyck illuminate, as they are illuminated by, the topics and events of these beloved and enduring films.

Text: English, German (translation)

Why do funny movies make us laugh? In this thoughtful essay, by turns stimulating and meditative, distinguished filmmaker and Yale professor Michael Roemer shares his musings on what causes us to chortle, snort, and guffaw when we watch antics onscreen or onstage. Roemer keeps us chuckling as he dissects punchy one-liners, Shakespearean plays, and everything in-between. Incorporating theories from such great thinkers as Sigmund Freud, Charles Baudelaire, Henri-Louis Bergson, and Soren Kierkegaard with the work of classic comedians like Charlie Chaplin, Buster Keaton, and the Marx Brothers, Roemer examines the purpose of comedy in our lives and in society. Shocked But Connected provides a serious reflection on a lighthearted subject.