From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway.

Method Acting and Its Discontents: On American Psycho-Drama provides a new understanding of a crucial chapter in American theater history. Enelow’s consideration of the broader cultural climate of the late 1950s and early 1960s, specifically the debates within psychology and psychoanalysis, the period’s racial and sexual politics, and the rise of mass media, gives us a nuanced, complex picture of Lee Strasberg and the Actors Studio and contemporaneous works of drama. Combining cultural analysis, dramaturgical criticism, and performance theory, Enelow shows how Method acting’s contradictions reveal powerful tensions inside mid-century notions of individual and collective identity.

For twenty years, Reverse Shot, a journal for film criticism and the house publication of New York’s Museum of the Moving Image, has been a home for movie lovers to find incisive, intelligent writings from a diverse group of the best critics working today. To celebrate the publication's run, MoMI has published this special anniversary anthology, which collects central pieces from the journal’s beginnings up through the latest releases. Broken into four chronological movements, this volume captures not only the films and filmmakers that Reverse Shot’s writers have championed and wrestled over but also tells a story of cinema’s progress and change over the first two decades of the 21st century. More than just for the many longtime readers of Reverse Shot, this collection is an essential reference for the past, present, and future of the moving image and a gift for anyone who cares about films and serious writings about them. “This New York-based publication has remained not only a beacon for quality film writing but also, in so many cases, the domain for the internet’s best piece on a given film. ... Digging into the earliest writings here affirms a site quickly setting an Olympian standard for online movie analysis, pole-vaulting even over many esteemed print publications with less space to play with on the page ... Any one essay gives you a taste of the levels of insight routinely put to bear by its shifting stable of contributors, including Nick Pinkerton, Genevieve Yue, Eric Hynes and Devika Girish.” —Sight & Sound magazine, March 2024

An Esquire Best Book About Hollywood A USA TODAY Best Book of 2021 “A lovely and loving book.”—Will Schwalbe, New York Times bestselling author of The End of Your Life Book Club "I'm not sure I have ever read a book about movies that is as tender and open-hearted as Films of Endearment."—Mark Harris, New York Times bestselling author of Mike Nichols: A Life A poignant memoir of family, grief and resilience about a young man, his dynamic mother and the '80s movies they shared together Michael Koresky's most formative memories were simple ones. A movie rental. A mug of tea. And a few shared hours with his mother. Years later and now a successful film critic, Koresky set out on a journey with his mother to discover more about their shared cinematic past. They rewatched ten films that she first introduced to him as a child, one from every year of the '80s, each featuring women leads. Together, films as divergent as 9 to 5, Terms of Endearment, The Color Purple and Aliens form the story of an era that Koresky argues should rightly be called "The Decade of the Actress." Films of Endearment is a reappraisal of the most important and popular female-driven films of that time, a profound meditation on loss and resilience, and a celebration of the special bond between mothers and their sons.

New York Times bestseller: A novel of a messy mob war in Brooklyn that “makes you laugh out loud” (Chicago Sun-Times). Kid Sally Palumbo has been a loyal servant to the Brooklyn Mafia for years. His specialty is murder, and he is so skilled at it that he has gotten the attention of Mafia boss Papa Baccala. But unfortunately for Kid Sally, murder pays poorly. He wants to make real dough, to get respect, and to be able to tell his colleagues where to sit when they eat dinner. In short, he wants to be boss. The job would be his for the taking—if only Kid Sally weren’t a Grade A moron. To keep Sally from stirring up trouble, Baccala tosses him an easy assignment: Organize a bicycle race through Brooklyn, and keep the profits. Kid Sally bungles it, setting off a turf war that quickly engulfs the borough. The dimwitted mobsters are masters in the art of murder, and they are about to put on a show. This ebook features an illustrated biography of Jimmy Breslin including rare photos and never-before-seen documents from the author’s personal collection.

From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway.

Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism.

Harmony Korine: Interviews tracks filmmaker Korine's stunning rise, fall, and rise again through his own evolving voice. Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker's home in Nashville. After more than twenty years, Harmony Korine (b. 1973) remains one of the most prominent and yet subversive filmmakers in America. Ever since his entry into the independent film scene as the irrepressible prodigy who wrote the screenplay for Larry Clark's Kids in 1992, Korine has retained his stature as the ultimate cinematic provocateur. He both intelligently observes modern social milieus and simultaneously thumbs his nose at them. Now approaching middle age, and more influential than ever, Korine remains intentionally sensationalistic and ceaselessly creative. He parlayed the success of Kids into directing the dreamy portrait of neglect, Gummo, two years later. With his audacious 1999 digital video drama Julien Donkey-Boy, Korine continued to demonstrate a penchant for fusing experimental, subversive interests with lyrical narrative techniques. Surviving an early career burnout, he resurfaced with a trifecta of insightful works that built on his earlier aesthetic leanings: a surprisingly delicate rumination on identity (Mister Lonely), a gritty quasi-diary film (Trash Humpers), and a blistering portrait of American hedonism (Spring Breakers), which yielded significant commercial success. Throughout his career he has also continued as a mixed-media artist whose fields included music videos, paintings, photography, publishing, songwriting, and performance art.