Bringing Up Baby (1938) is the essence of thirties screwball comedy. It is also quintessential Howard Hawks, treating many of the director's favorite themes, particularly the loving war between the sexes. Bringing Up Baby features Katharine Hepburn as a flaky heiress and Cary Grant as an absentminded paleontologist, roles in which they come into their own as stars and deliver particularly fine comic performances. Pauline Kael has called the film the "American movies' closest equivalent to Restoration comedy." The comparison is based on the quick repartee and witty dialogue, a hallmark of Hawks's work and well conveyed here by Gerald Mast's transcription from the screen.

What British parent hasn't noticed, on visiting France, how well-behaved French children are compared to our own? Pamela Druckerman, who lives in Paris with three young children, has had years of observing her French friends and neighbours, and with wit and style, is ideally placed to teach us the basics of French parenting."

À la carte wisdom from the international bestseller Bringing up Bébé In BRINGING UP BÉBÉ, journalist and mother Pamela Druckerman investigated a society of good sleepers, gourmet eaters, and mostly calm parents. She set out to learn how the French achieve all this, while telling the story of her own young family in Paris. BÉBÉ DAY BY DAY distills the lessons of BRINGING UP BÉBÉ into an easy-to-read guide for parents and caregivers. How do you teach your child patience? How do you get him to like broccoli? How do you encourage your baby to sleep through the night? How can you have a child and still have a life? Alongside these time-tested lessons of French parenting are favorite recipes straight from the menus of the Parisian crèche and winsome drawings by acclaimed French illustrator Margaux Motin. Witty, pithy and brimming with common sense, BÉBÉ DAY BY DAY offers a mix of practical tips and guiding principles, to help parents find their own way.

From 2009 to 2014, The Museum of Modern Art presented a weekly series of film screenings titled An Auteurist History of Film. Inspired by Andrew Sarris's seminal book The American Cinema, which elaborated on the "auteur theory" first developed by the critics of Cahiers du Cinéma in the 1950s, the series presented works from MoMA's expansive film collection, with a particular focus on the role of the director as artistic author. Film curator Charles Silver wrote a blog post to accompany each screening, describing the place of each film in the oeuvre of is director as well as the work's significance in cinema history. Following the end of the series' five-year run, the Museum collected these texts for publication, and is now bringing together Silver's insightful and often humorous readings in a single volume. This publication is an invaluable guide to key directors and movies as well as an excellent introduction to auteur theory. -- from back cover.

A guide to childcare offers advice on bonding, feeding, childproofing, toy selection, communication, and infant development

An easy-to-use reference for prospective fathers combines practical advice with entertaining information, illustrations, and sidebars as it offers a complete introduction to the art of parenting and covers such topics as common parenting myths, labor and delivery, diapers, and more. Original. 50,000 first printing.

Would they form an instant family? Devon Clarke, author of the popular column "Bringing Up Baby," was America's best-loved baby expert. That's why two fans bequethed her a tiny tyke named Amanda. How were they to know that Devon was living a lie—that she wasn't really married and didn't know a thing about babies! At least Devon's new carpenter, Colin O'Reilly, was a jack-of-all-trades. He could change diapers, burp babies and warm bottles. But would Colin go along with Devon's plans for matrimony? When an urgent call sent her reeling, she not only needed a baby and a daddy, she needed an instant husband, too!

Bringing Up Baby, directed by Howard Hawks in 1938, is one of the greatest screwball comedies and a treasure from the Golden Age of Hollywood. Cary Grant plays a naive and repressed palaeosaurologist who becomes entangled with (and ensnared by) a wilful heiress (Katharine Hepburn). Chaos ensues as romance blossoms and not one but two leopards are set loose in verdant Connecticut. All of Hawks's signature skills are to the fore: there is the wonderful ensemble cast, the characteristically refined but unselfconscious visual style, an endless succession of pratfalls, innuendo and jokes (written by Dudley Nichols and Hagar Wilde) and, underneath the chaos and good cheer, a serious dream of escaping life's troubles by dint of nothing more or less than nerve and luck. There are no human babies in Bringing Up Baby, but there are those leopards and the relentless terrier George – and, as Peter Swaab explores in his witty and original study, Hawks's film wonders profoundly why we want animals in our lives and why we sometimes need to behave as animals ourselves. Many screwball films have been seen as comedies of remarriage, but Peter Swaab argues that this one is not much interested in marriage and is instead more captivated by instinct, irresponsibility and the wild abnormalities of romance. The film is in its way an American dream of independence, and believes the real way to get on in life – for film-makers as well as scientists – isn't by deference and respectability but by having sexy fun with the right people. A thoroughly American fiction of the 1930s, Bringing Up Baby is also a timelessly classical comic narrative, exploring conflicts between civilisation and nature, rationality and insanity, middle-class inhibitions and aristocratic blitheness. And it is the epitome of film comedy, an anthology of comic types and devices, and one of the most seductively funny films ever made.

This is an important text that synthesises diverse literatures and theories on infant development into a coherent framework that illuminates the essence of infancy for all those who have infants, study infants, teach about infancy, make policy with respect to infant welfare, and work medically or therapeutically with mothers and their infants. It brings together in one volume the principal theories of infant development, beginning with Freud's vision of the Oedipal infant, moving through the post-Freudian conceptualizations of the infant of Anna Freud, Melanie Klein, and the British Independents with Donald Winnicott as exemplar, then to the attachment theorists, the intersubjective theories, the cognitive developmental psychologists, examining the work of Jean Piaget and the neo-Piagetian cognitive theorists concluding with the modern infant of developmental neuroscience and an examination of the neurobiology of attachment, stress, and care giving.

This book analyzes the evolution of film and television comedy from the 1930s through the present, defining five distinct periods and discussing the dominant comedic trends of each. Chapters cover the period spanning 1934 to 1942, defined by screwball comedies that offered distraction from the Great Depression; the suspense comedy, reflecting America's darker worldview during World War II; the 1950s battle-of-the-sexes comedy; the shift from the physical, exaggerated comedy of the 1950s to more realistic plotlines; and the new suspense comedy of the 1970s and 1980s, focusing on the popular "dumb cop" or "dumb spy" series along with modern remakes including 2006's The Pink Panther and 2008's Get Smart.