Jared Chiziver is a single father and professional pick-pocket, devotee of Jean-Paul Belmondo and foreign films, and a suave ladies' man. His son Ben is sixteen, a bookish semi-introvert, a star on his school's track team, college bound and gay. Two things happen that cause repercussions -- Jared meets Anna, a woman photographer he finds engaging and Jared commits a big crime in response to a brutal attack upon his son Ben. The only thing for Jared to do is to leave town before the police find him. Explores the relationship between this unusual father and his remarkable son.

Working at the margins of aesthetics and politics, Patrick Vauday challenges the dominant assumptions of our mediatized society and its disposition towards images. This challenge does not advocate eliminating images altogether, but rather entreats us to see them in a different light.

It can be argued that cinema was created in France by Louis Lumi_re in 1895 with the invention of the cinZmatographe, the first true motion-picture camera and projector. While there were other cameras and devices invented earlier that were capable of projecting intermittent motion of images, the cinZmatographe was the first device capable of recording and externally projecting images in such a way as to convey motion. Early films such as Lumi_re's La Sortie de l'usine, a minute-long film of workers leaving the Lumi_re factory, captured the imagination of the nation and quickly inspired the likes of Georges MZli_s, Alice Guy, and Charles PathZ. Through the years, French cinema has been responsible for producing some of the world's best directors_Jean Renoir, Jean-Luc Godard, Fran_ois Truffaut, and Louis Malle_and actors_Charles Boyer, Catherine Deneuve, GZrard Depardieu, and Audrey Tautou. The A to Z of French Cinema covers the history of French film from the silent era to the present in a concise and up to date volume detailing the development of French cinema and major theoretical and cultural issues related to it. This is done through a chronology, an introduction, photographs, a bibliography, and hundreds of cross-referenced dictionary entries on many of the major actors, directors, films, movements, producers, and studios associated with French cinema. Going beyond mere biographical information, entries also discuss the impact and significance of each individual, film, movement, or studio included. This detailed, scholarly analysis of the development of film in France is useful to both the novice and the expert alike.

Jose Donoso has created a hauntingly beautiful novel of contemporary Chile and the human condition. Curfew takes place during a twenty-four-hour period in January 1985. Matilde Neruda, widow of the Nobel Prize-winning poet, has just passed away and Chile's various factions rally to turn the event to their advantage. For Pinochet's junta it represents a chance to assert political authority; for the intellectuals who had basked in Neruda's light, it is an opportunity to grab the spoils of the estate.

French cinema is second only to Hollywood in the number of its movie stars who have emerged to achieve international fame. France is, in fact, arguably the only country other than the United States to have an international "star system." Yet these glamorous and charismatic stars differ from their U.S. counterparts in that they maintain more freedom to control their own images and often straddle both mainstream and auteur cinema.Ginette Vincendeau, a leading authority on French cinema, analyzes the phenomenon of French film stardom and provides brilliant in-depth studies of the major popular stars of the French cinema: Max Linder, Jean Gabin, Brigitte Bardot, Jeanne Moreau, Louis de FunFs, Jean-Paul Belmondo, Alain Delon, Catherine Deneuve, GTrard Depardieu, and Juliette Binoche. This volume analyzes these stars' images and performance styles in the context of the French film industry, but also in relation to national culture and society. In the country where Brigitte Bardot and Catherine Deneuve have modeled for Marianne (the effigy of the Republic) and left-wing politicians have held up Jean Gabin as a role model, Vincendeau examines the unusual relationship between French film stars and national identity.Ginette Vincendeau is professor of film studies at the University of Warwick. She is the author and editor of a number of books on cinema.

The most-trusted film critic in America." --USA Today Roger Ebert actually likes movies. It's a refreshing trait in a critic, and not as prevalent as you'd expect." --Mick LaSalle, San Francisco Chronicle America's favorite movie critic assesses the year's films from Brokeback Mountain to Wallace and Gromit: The Curse of the Were-Rabbit. Roger Ebert's Movie Yearbook 2007 is perfect for film aficionados the world over. Roger Ebert's Movie Yearbook 2007 includes every review by Ebert written in the 30 months from January 2004 through June 2006-about 650 in all. Also included in the Yearbook, which is about 65 percent new every year, are: * Interviews with newsmakers such as Philip Seymour Hoffman, Terrence Howard, Stephen Spielberg, Ang Lee, and Heath Ledger, Nicolas Cage, and more. * All the new questions and answers from his Questions for the Movie Answer Man columns. * Daily film festival coverage from Cannes, Toronto, Sundance, and Telluride. *Essays on film issues and tributes to actors and directors who died during the year.

Jean-Luc Godard's Pierrot le fou (1965), made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high- and popular culture. A full filmography and a selection of reviews are included.

The "post-classic" era of American gangster films began in 1967 with the release of Bonnie and Clyde, achieving a milestone five years later with the popular and highly influential The Godfather. This historical study explores the structure, myths and intertextual narratives found in the gangster films produced since The Godfather. The intense relationship between masculinity and ethnicity in the gangster film, especially within the movie-generated mythology of the Mafia, is carefully analyzed, and the book tracks the trends in the genre up to and including the landmark HBO television series The Sopranos (1999-2007). A selected filmography is included. Instructors considering this book for use in a course may request an examination copy here.

There Is A Tomorrow is the latest collaboration effort of John Gilgun and Warren Norgaard.Several years in the making, it tells a story of love, friendship, travel, art, creativity, teaching, San Francisco, growing up and older, and still so much more.There Is A Tomorrow is a must-read for everyone, but especially all gay men -- young and old, closeted and out, educated and dropouts, city and urban, single and coupled.

‘Delhi is the twin of pure paradise, a prototype of the heavenly throne on an earthlyscroll’—Amir Khusrau A city of contradictions, where ancient traditions and modern aspirations jostle for space, Delhi has often been compared to a phoenix rising from the ashes. Its three thousand years of eventful history have witnessed the rise and fall of several empires, a process that continues today. City Improbable brings together writings by immigrants, residents, refugees, travellers and invaders who have engaged with India’s capital over different epochs. Babur shares his earliest experience of the city and Amir Khusrau praises the fine lads of Delhi; Ibn Battuta and Niccolao Manucci record the glories and follies of prominent rulers; William Dalrymple and Khushwant Singh provide intriguing accounts of the threshold period that saw the coming of the British and the waning of the Mughals. Poets and storytellers—Meer Taqi Meer, Ghalib, Yashpal, Kamleshwar, Ruskin Bond—narrate their versions of the city. Contemporary Delhi is featured in a variety of vignettes: the bureaucracy, the Emergency, the anti-Sikh violence, lovers and joggers in Lodi Gardens, the city’s Sufi legacy as well as its changing cuisine. Among the new pieces in this expanded edition are Sam Miller’s account of his experiences in the suburb of Noida, Manto’s story about a girl from Delhi leaving the city during Partition, Jarnail Singh’s unflinching recollection of the massacre of Sikhs in 1984, a photo essay on Shahpur Jat by Karoki Lewis, and a composite narrative by the young writers of the Cybermohalla Collective about the making of a resettlement colony.