Quentin Tarantino’s long-awaited first work of fiction—at once hilarious, delicious and brutal—is the always surprising, sometimes shocking, novelization of his Academy Award winning film. RICK DALTON—Once he had his own TV series, but now Rick’s a washed-up villain-of-the week drowning his sorrows in whiskey sours. Will a phone call from Rome save his fate or seal it? CLIFF BOOTH—Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have got away with murder. . . . SHARON TATE—She left Texas to chase a movie-star dream, and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills. CHARLES MANSON—The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ‘n’ roll star.

The Western is the quintessential American epic--a mythic story of nation building, triumphs, failures, and fantasies. This book accompanies the first major exhibition to examine the Western genre and its evolution from the mid-1800s in fine art, film, and popular culture, exploring gender roles, race relations, and gun violence--a story that is about more than cowboys and American Indians, pursuits and duels, or bandits and barroom brawls. From 19th-century landscape paintings by Albert Bierstadt and Frederic Remington to works by Andy Warhol, Ed Ruscha, and Kent Monkman; from the legends of "Buffalo Bill" Cody and Billy the Kid to John Ford's classic films and Sergio Leone's spaghetti Westerns and recent productions by Quentin Tarantino, Ang Lee, and Joel and Ethan Coen, The Western observes how the mythology of the West spread throughout the world and endures today.

From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.

In this rich cultural history, Pamela Roberston Wojcik examines America's ambivalent and shifting attitude toward homelessness. She considers film cycles from five distinct historical moments that show characters who are unhomed and placeless, mobile rather than fixed—characters who fail, resist, or opt out of the mandate for a home of one's own. From the tramp films of the silent era to the 2021 Oscar-winning Nomadland, Wojcik reveals a tension in the American imaginary between viewing homelessness as deviant and threatening or emblematic of freedom and independence. Blending social history with insights drawn from a complex array of films, both canonical and fringe, Wojcik effectively "unhomes" dominant narratives that cast aspirations for success and social mobility as the focus of American cinema, reminding us that genres of precarity have been central to American cinema (and the American story) all along.

From Jackie Chan to Ang Lee, from "Supercop" to "Crouching Tiger, Hidden Dragon," Chinese cinema has truly arrived in the U.S. Filled with photos and tidbits, this is the definitive book for anyone who has already fallen in love with Chinese cinema--and all those who are looking to learn more about it.

The social movements of the 1960s - still vital and challenging - seen through the author's experiences as a civil rights activist, a feminist, an antiwar organizer, and a radical teacher.

Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski, and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen."

It is 1968. Across America, citizens march for social reform and an end to the Vietnam War. Amid all this, Surya Green--a New York-born, self-absorbed, modern young woman--is a student at Stanford University, blithely pursuing a graduate degree in communication. Her view of life's purpose unexpectedly starts to expand when she says "Yes" when her Stanford film mentor selects her for a writing job at Zagreb Film in Yugoslavia. Family and friends marvel at her courage, or foolishness. The Zagreb studio may be the renowned producer of the first non-American animated film to win an Oscar, but it is in a country most Americans fear and reject as "communist." Green has no idea that her stay in Yugoslavia will ultimately take her beyond national borders to the outermost limits of her mind. Although penned in the first person against the backdrop of Tito's Yugoslavia in historic 1968, Once Upon a Yugoslavia is, paradoxically, most timely. The global economic crisis has compelled people to question excessive consumption and redefine success and the good life while embracing new lifestyle priorities--just as Yugoslavia required of Surya Green decades ago. Once Upon a Yugoslavia addresses this present-day longing while also offering a lively history lesson. History books have objectively described the former Yugoslavia, but Once Upon a Yugoslavia gives personalized look at the everyday lives of people in pre-1989 Eastern Europe that shows how the experience transformed one young woman's American Dream. Chronicling the sights, sounds, and ups and downs of the everyday Yugoslav existence, Green speaks to both the positive and negative aspects of the contemporary phenomenon known as "Yugo-nostalgia." The pros and cons of the American and Yugoslav societies fly to and fro during Surya's conversations with a host of colorful characters--some of whom she lodges with and travels the countryside with, others of whom she dates. In this strange Big Brotherish country of perplexing language, culture, and customs--which gives Surya an early experience of living a monitored life without privacy in a land where paranoia is contagious--more than once readers will hear her sobbing at night. Ultimately, the Yugoslav social experiment--its plus points, at least--were to give Surya Green a considerably altered view of the American values with which she was raised. And it is what led to that perspective--a personal transformation that started for her in explosive, memorable, life-changing 1968 in Tito's Yugoslavia, and continues to this day--which makes Once Upon a Yugoslavia such a unique and remarkable book. From the Trade Paperback edition.

Dusty Springfield led a tragic yet inspiring life, battling her way to the top of the charts and into the hearts of music fans world-wide. Her signature voice made songs such as "I Only Want to Be with You," "Son of a Preacher Man," and "You Don't Have to Say You Love Me," international hits. In Dancing with Demons, two of her closest friends, Valentine and Wickham, capture, with vivid memories and personal anecdotes, a Dusty most people never glimpsed in this no-holds-barred yet touching portrait of one of the world's true grand dames of popular music.