Now a major film from Academy Award–winning director Clint Eastwood—starring Sam Rockwell, Kathy Bates, Jon Hamm, Olivia Wilde, and Paul Walter Hauser​! This collection of captivating profiles from Vanity Fair writer Marie Brenner spans her award-winning career and features larger-than-life figures such as Donald Trump, Roy Cohn, Malala Yousafzai, and Richard Jewell—the security guard whose dramatic heroism at the bombing of the 1996 Olympics made him the FBI’s prime suspect. Previously published as A Private War, Marie Brenner’s Richard Jewell tells a gripping true story of heroism and injustice. In the early morning hours of July 27, 1996, three pipe bombs exploded at the Summer Olympics in Atlanta, Georgia, killing one person and injuring 111 others. Hundreds more potential casualties were prevented by the vigilance and quick actions of security guard Richard Jewell, who uncovered the bombs and began evacuating the area. But no good deed goes unpunished. Desperate for a lead, investigators and journalists pursued Jewell as a potential suspect in the case, painting him as an obvious match for the infamous “lone bomber” profile. Accused of being a terrorist and a failed law enforcement officer who craved public recognition for his false heroics, he saw his reputation smeared across headlines and broadcasts nationwide. After a months-long investigation found no evidence against him, the US Attorney finally cleared Jewell’s name. Yet Jewell would not be fully exonerated in the eyes of the public until the actual bomber confessed in 2005, just two years before Jewell’s premature death at the age of forty-four. In Richard Jewell, veteran journalist Marie Brenner brilliantly chronicles Jewell’s ordeal to share the story of an ordinary man whose life was shattered by a false narrative. This collection also includes Brenner’s classic encounters with Donald Trump, Roy Cohn, Malala Yousafzai, Marie Colvin, and others.

One of the "Big Five" studios of Hollywood’s golden age, RKO is remembered today primarily for the famous films it produced, from King Kong and Citizen Kane to the Astaire-Rogers musicals. But its own story also provides a fascinating case study of film industry management during one of the most vexing periods in American social history. RKO Radio Pictures: A Titan is Born offers a vivid history of a thirty-year roller coaster of unstable finances, management battles, and artistic gambles. Richard Jewell has used unparalleled access to studio documents generally unavailable to scholars to produce the first business history of RKO, exploring its decision-making processes and illuminating the complex interplay between art and commerce during the heyday of the studio system. Behind the blockbuster films and the glamorous stars, the story of RKO often contained more drama than any of the movies it ever produced.

Slow Fade to Black completes Richard B. Jewell’s richly detailed two-part history of the RKO film studio, which began with RKO Radio Pictures: A Titan Is Born, published in 2012. This second volume charts the studio’s fortunes, which peaked during World War II, declined in the postwar period, and finally collapsed in the 1950s. Drawing on hard-to-access archival materials, Jewell chronicles the period from 1942 to the company’s demise in 1957. Towering figures associated with the studio included Howard Hughes, Orson Welles, Charles Koerner, Val Lewton, Jane Russell, and Robert Mitchum. In addition to featuring an extraordinary cast of characters, the RKO story describes key aspects of entertainment history: Hollywood’s collaboration with Washington, film noir, censorship, HUAC, the rise of independent film production, and the impact of television on film. Taken as a whole, Jewell’s two-volume study represents the most substantial and insightful exploration of the Hollywood studio system to date.

This comprehensive book illuminates the most fertile and exciting period in American film, a time when the studio system was at its peak and movies played a critical role in elevating the spirits of the public. Richard B. Jewell offers a highly readable yet deeply informed account of the economics, technology, censorship, style, genres, stars and history of Hollywood during its "classical" era. A major introductory textbook covering what is arguably the most fertile and exciting period in film, 1929-1945 Analyzes many of the seminal films from the period, from The Wizard of Oz to Grand Hotel to Gone with the Wind, considering the impact they had then and still have today Tackles the shaping forces of the period: the business practices of the industry, technological developments, censorship restraints, narrative strategies, evolution of genres, and the stars and the star system Explores the major social, political, economic, and cultural events that helped to shape contemporary commercial cinema, as well as other leisure activities that influenced Hollywood production, including radio, vaudeville, theatre and fiction Written in a jargon-free, lively style, and features a number of illustrations throughout the text

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.

One of The Chicago Tribune's Best Reads of 2011 One of Dublin's most powerful men meets a violent end— and an acknowledged master of crime fiction delivers his most gripping novel yet On a sweltering summer afternoon, newspaper tycoon Richard Jewell—known to his many enemies as Diamond Dick—is discovered with his head blown off by a shotgun blast. But is it suicide or murder? For help with the investigation, Detective Inspector Hackett calls in his old friend Quirke, who has unusual access to Dublin's elite. Jewell's coolly elegant French wife, Françoise, seems less than shocked by her husband's death. But Dannie, Jewell's high-strung sister, is devastated, and Quirke is surprised to learn that in her grief she has turned to an unexpected friend: David Sinclair, Quirke's ambitious assistant in the pathology lab at the Hospital of the Holy Family. Further, Sinclair has been seeing Quirke's fractious daughter Phoebe, and an unlikely romance is blossoming between the two. As a record heat wave envelops the city and the secret deals underpinning Diamond Dick's empire begin to be revealed, Quirke and Hackett find themselves caught up in a dark web of intrigue and violence that threatens to end in disaster. Tightly plotted and gorgeously written, A Death in Summer proves to the brilliant but sometimes reckless Quirke that in a city where old money and the right bloodlines rule, he is by no means safe from mortal danger.

Aestheticization of evil is a frequently used formula in cinema and television. However, the representation of evil as an aesthetic object pushes it out of morality. Moral judgments can be pushed aside when evil is aestheticized in movies or TV series because there is no real victim. Thus, situations such as murder or war can become a source of aesthetic pleasure. Narratives in cinema and television can sometimes be based on a simple good-evil dichotomy and sometimes they can be based on individual or social experiences of evil and follow a more complicated method. Despite the various ways evil is depicted, it is a moral framework in film and television that must be researched to study the implications of aestheticized evil on human nature and society. International Perspectives on Rethinking Evil in Film and Television examines the changing representations of evil on screen in the context of the commonness, normalization, aestheticization, marginalization, legitimization, or popularity of evil. The chapters provide an international perspective of the representations of evil through an exploration of the evil tales or villains in cinema and television. Through looking at these programs, this book highlights topics such as the philosophy of good and evil, the portrayal of heroes and villains, the appeal of evil, and evil’s correspondence with gender and violence. This book is ideal for sociologists, professionals, researchers and students working or studying in the field of cinema and television and practitioners, academicians, and anyone interested in the portrayal and aestheticization of evil in international film and television.

A true story of making a difference: “What does your family stand for? Read this book—it will change your life” (Daniel H. Pink). It all started when fourteen-year-old Hannah Salwen had a “eureka” moment. Seeing a homeless man in her neighborhood at the same moment when a glistening Mercedes coupe pulled up, she said “You know, Dad, if that man had a less nice car, that man there could have a meal.” Until that day, the Salwens had been caught up like so many of us in the classic American dream—providing a good life for their children, accumulating more and more stuff, doing their part but not really feeling it. So when Hannah was stopped in her tracks by this glaring disparity, her parents knew they had to do something. As a family, they made the extraordinary decision to sell their Atlanta mansion, downsize to a house half its size, and give half of the sale price to a worthy charity. What began as an outlandish scheme became a remarkable journey that transported them across the globe and well out of their comfort zone. In the end they learned that they had the power to change a little corner of the world—and found that it changed them, too. “You feel lighter reading this book, as if the heavy weight of house and car and appliances, the need to collect these things to feel safe as a family, are lifted and replaced by something that makes much more sense.” —Los Angeles Times

RKO Radio Pictures existed in an atmosphere of almost chaos, from its optimistic beginnings in 1928 until it collapsed into ruins at the hands of Howard Hughes nearly 30 years later. Yet in that show history RKO made some of the greatest films and featured some of the finest talents ever to emerge from Hollywood.