Thieves of Baghdad is a riveting account of Colonel Matthew Bogdanos and his team's extraordinary efforts to recover over 5,000 priceless antiquities stolen from the Iraqi National Museum after the fall of Baghdad. A mixture of police procedural, treasure hunt, war-time thriller, and cold-eyed assessment of the international black market in stolen art, Thieves of Baghdad also explores the soul of a truly remarkable man: a soldier, a father, and a passionate, dedicated scholar.

This collection was published in the 1920s and serves as a classic Muslim fantasy tales in the English language. This book was an evocative piece of work, which has a rich imagination of the Muslim environment and is an important source of inspiration for other Muslim fantasy novels.

Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)—in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.

"Douglas Fairbanks takes the full measure of the star's remarkable life. Jeffrey Vance bases his portrait on a rich array of sources, including Fairbanks's personal and professional papers and scrapbooks, newly available documentation and rediscovered films, and his own extensive interviews with those who knew or worked with Fairbanks. Engagingly written and sumptuously designed, with 237 photographs, the book goes beyond Fairbanks's public persona to thoroughly explore his art and his far-reaching influence."--BOOK JACKET.

Conrad Veidt, a native of Berlin, began acting in small parts as an extra until called into service during World War I. After his discharge he began a theater career that subsequently led to films and more than one turn as a director. This work thoroughly details Veidt's film career. It lists all movies that he was involved in and provides a synopsis, cast and crew, and reviews of each film. There are many photographs, a list of films that he is thought possibly to have been involved in, and an extensive bibliography.

New York in the late 1980s. Ceinwen Reilly has just moved from Yazoo City, Mississippi, and she’s never going back, minimum wage job (vintage store salesgirl) and shabby apartment (Avenue C walkup) be damned. Who cares about earthly matters when Ceinwen can spend her days and her nights at fading movie houses—and most of the time that’s left trying to look like Jean Harlow? One day, Ceinwen discovers that her downstairs neighbor may have—just possibly—starred in a forgotten silent film that hasn’t been seen for ages. So naturally, it’s time for a quest. She will track down the film, she will impress her neighbor, and she will become a part of movie history: the archivist as ingénue. As she embarks on her grand mission, Ceinwen meets a somewhat bumbling, very charming, 100% English math professor named Matthew, who is as rational as she is dreamy. Together, they will or will not discover the missing reels, will or will not fall in love, and will or will not encounter the obsessives that make up the New York silent film nut underworld. A novel as winning and energetic as the grand Hollywood films that inspired it, Missing Reels is an irresistible, alchemical mix of Nora Ephron and David Nicholls that will charm and delight.

He was the consummate designer of film architecture on a grand scale. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors' positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood's first and greatest production designer, a job title David O. Selznick invented for Menzies' extraordinary, all-encompassing, Academy Award-winning work on Gone With the Wind (which he effectively co-directed). It was Menzies--winner of the first-ever Academy Award for Art Direction, and who was as well a director (fourteen pictures) and a producer (twelve pictures)--who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. Now, James Curtis, acclaimed film historian and biographer, writes of Menzies' life and work as the most influential designer in the history of film. Interviewing colleagues, actors, directors, friends, and family, and with full access to the Menzies family collection of artwork and unpublished writing, Curtis gives us the path-finding work of the movies' most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work.--Adapted from book jacket.

From one of the most popular collections of ancient folk tales — 30 thrilling scenes filled with flying carpets, magic lamps, flashing swords, sultans, thieves, warrior princes, and shape-shifting jinnis. A treasury of delights for fantasy lovers of all ages.

"The first truly definitive biography of Douglas Fairbanks, the greatest leading man of the silent film era"--

Few people have influenced Hollywood history than Douglas Fairbanks. And who better than his niece and Fairbanks family historian, Letitia, to relate that story? On-screen and offscreen, he was a force of nature, progressing in easy leaps and bounds from the Broadway stage to silent movies when feature-length film was just a few years old. His happy, healthy characters and acrobatic acting style brought a new energy to the medium. But it was through his extraordinary success as a producer that Fairbanks achieved the goal of all creative people: to run his own show. This he did by co-founding United Artists in 1919 with his soon-to-be wife Mary Pickford, Charles Chaplin, and D. W. Griffith. As a producer, he showed visionary taste, collaborating with his directors and designers to enact gallant tales in spectacular settings. Whether he played a young man on the go or a swashbuckling hero in a fairy-tale land, Fairbanks—one of the thirty-six founders of the Academy of Motion Picture Arts and Sciences—put America’s hopes and dreams on film. This updated version of the original 1953 biography has been expanded by the Fairbanks family with archival materials as well as never-before-seen photographs from the Academy of Motion Picture Arts and Sciences, Margaret Herrick Library.