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Contemporary society has badly misunderstood television. This book offers to guide the reader through the misinformation and exaggeration that wrongly influence cultural discourse and public policy with regard to TV. It presents a new perspective for the 21st century. ... Read more

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This digital document is an article from Countries and Their Cultures, brought to you by Gale®, a part of Cengage Learning, a world leader in e-research and educational publishing for libraries, schools and businesses.The length of the article is 1047 words.The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase.You can view it with any web browser.Covers the broad range of popular religious culture of the United States at the close of the twentieth century. Beliefs, practices, symbols, traditions, movements, organizations, and leaders from the many traditions in the pluralistic American community are represented. Also includes cults and phenomena that drew followers, such as Heaven's Gale and UFOs. ... Read more

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There are few films with a history as dramatically riveting as that of Salt of the Earth. Made during the height of the McCarthy era by a group of blacklisted filmmakers who were among the best and the brightest Hollywood talent of the day, Salt of the Earth is a politically and emotionally charged feature-length film. Now, Harbor Electronic Publishing is proud to offer the 50th Anniversary edition of Salt of the Earth: The Story of a Film. Director Herbert Biberman’s eloquent, dramatic account of the making of the film tells a story every bit as powerful as the film itself. It is an important piece of both film history and American history.

The twelve-year struggle to bring Salt of the Earth to the American people is a graphic record of the ravages of McCarthyism, and Biberman spares no one in his account of it. His story, however, is not one of despair because he found—in the darkest moments—men of deep courage and conviction.

This 50th Anniversary edition—complete with stills from the film and with a new introduction by James Monaco—restores to circulation what is likely the most important “making of” book ever published. It is a story of true heroism and remarkable courage.

... Read more

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Three decades after its first publication, The New Wave is still considered one of the fundamental texts on the French film movement of the same name. Led by filmmakers as influential as Truffaut and Godard, the New Wave was a seminal moment in cinematic history, and The New Wave has been hailed as the most complete book ever written about it.

The New Wave tells the story of the New Wave through examinations of five of the most important directors of the era: Truffaut, Godard, Chabrol, Rohmer, and Rivette. With detailed notes and over fifty breathtaking stills, the book has appealed both to academics and interested novices alike.

The thirtieth anniversary edition includes a new afterword by the author. ... Read more

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Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media.
Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an "Essential Library: One Hundred Books About Film and Media You Should Read" and "One Hundred Films You Should See."As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout--one of the new sections looks at the untrustworthy nature of digital images and sound--and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film.
With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better. ... Read more

Customer Reviews (16)

An enlightening text which has stood the test of time.
Monaco's How To Read A Film is a triumph in bringing together a very wide range of theoretical, social, aesthetic, political, economic, historical, and technical information and ideas about film. In the newer editions, he has also addressed the broader range of media in general. It has been considered the "bible" by many on film history and theory for three decades. As a young film student 25 years ago, this was a required text for me then and still is today in many important schools. I learned so much from it then, and amazingly, continue to take away insights which inform my own film-making even today.

Some of the comments from other reviewers here are a bit baffling, to be frank. I don't find his writing style to be irritating at all; just the opposite! I feel that one of Monaco's real strengths is his style; he deals with what could easily be rather dry material in a way that has me unable to turn the pages fast enough! He always keeps the subject very interesting and is quite economical and free of excesses and digressions in his delivery. If anything, I found myself wanting to know more at times. One reviewer states that Monaco lacks organization and drifts randomly between topics. He cannot be serious (??). Whatever you might come up with to be critical about, I don't think that anyone could possibly make that case. On the contrary, given the utterly ambitious amount of material that he is dealing with, I truly applaud him for the organizational skill and deft handling of the presentation of such a massive amount of information! I think that he brings it all together extremely well with three indexes and a remarkable bibliography to support a highly accessible and coherent structure of chapters. This same reviewer claims that "There is nothing about auteur theory" and "very little about editing."That's just flat wrong. My gosh, did he read the book?? Monaco deals directly with this in chapter five; he points out the rather dubious translation of Truffaut's "Politique des auteurs" as a "theory," and suggests the distinction that it is more of a "policy" with a fairly arbitrary critical approach, and goes on to elaborate on the difficulty with the notion of authorship. And as far as any discussion on editing? MONTAGE, my friend!! That's a central topic which is dealt with in great depth throughout the entire text!

There is perhaps only one area that I might raise a critical question. That concerns Monaco's complete understanding of semiotics and the rhetorical devices of literary theory. He, of course, applies them extensively to film analysis; but I did yearn for a bit more scholarship at times. For example, the term "trope" is defined in a great many texts as a rhetorical figure which represents the specific figures: metaphor, synecdoche, metonymy, hyperbole, etc. But Monaco doesn't use it that way and it's a little confusing. It may simply be that these terms have evolved and have acquired nuanced meanings in film analysis.

For me personally, one of the wonderful things about the book is Monaco's honesty about the state of film criticism in current times as compared to the 1960s and 70s. He has the courage to admit what so many try to say in a backwards, camouflaged way. "Thumbs have replaced theories," says Monaco; today, "there is no one with an interesting theoretical ax to grind" like the prominent critical personas who established such a ferment of critical thinking and polemics thirty years ago; people like Pauline Kael, Andrew Sarris, Manny Farber, and Molly Haskell, to name a few. Controversial? What's surprising is that it's not; but it's a vitally important opinion to understand. And Monaco supports his claim with a fascinating and well written book. I consider this an essential text; it completely changed how I approach film, both in how I make them and in how I read them.

Fast delivery
I am so pleased with the purchase.
The book is in a great condition, not saying that it is also amazing in its content.
Highly recommended to read for those who are interested in film history and theory.
Moreover, the book arrived month and some days before the date of the estimate delivery, which I was very pleased to find out.

'Best Book of its Kind'?I agree
James Monaco's knowledge of film and other media is almost scary!He discusses things like film emulsions, the evolution of the movie camera, the physiological nature of perception and the montage techniques of Eisenstein and Pudovkin, "underground films" of the 60's with such authority, you might think he has some mental wikipedia in his brains that he simply surfs for whatever topic he happens to be addressing.A book like this one could easily end up being a thin overview of visual media with no subject given adequate coverage, but regardless of what he's explaining, Monaco explains it in-depth and he has the added ability to explain difficult subjects in clear terms: read his analysis of structuralism and post-modernist film criticism, for example. It actually makes sense.Not that it made me enjoy the academic approaches, but at least I learned what they are (and they're not all that much).If I had to have one book on film studies, I'd pick this one, unless the version with the DVD is better.I haven't looked at it, but I imagine it would be great to see real excerpts from classic or modern films as they are analyzed.

Not great, not lousy
"If poetry is what you can't translate, as Robert Frost once suggested, then 'art' is what you can't define."

And yet, the author tries. Most people who notice this discrepancy probably berate the author for this, but I give him marks for trying. Art has been an important part of my life since I was 3, and its study remains a topic of great interest to me.

This book fails to explain film as art, at least largely. And I'm not entirely sure why. Many of the concepts presented seem lifted from film studies courses, which in my experience are usually aimed at convincing the student to adopt political attitudes about films and about life in general. This propagandizing has never worked on me. I don't think the author follows through with the worst of the propaganda material that I'm used to seeing, but his arguments seem very similar, and similarly unconvincing.

This is not to say that the book is worthless. The elements on the history of film and its interaction with other art forms was very interesting.

Finally, there are technical errors. I don't think that any of them are particularly crucial to the understanding of film (at least, not those that I noticed), but I have to wonder whether an author who has an imperfect understanding of the technical aspects of film making has a similarly imperfect understanding of other elements. As an example, the author twice states that the focal length of a lens is the distance from the center of the front lens element to the film plane; in actuality, focal length is the distance between the lens focal point (somewhere inside the lens structure) to the film plane.

If I was going to choose one book to understand the language of film, this would not be it. On the other hand, if you can get it cheap, give it a shot.

How to Be a Film-Buff
Since the publication of its first edition in 1977, this book has been applauded--and rightly so. Monaco magically mingles art history, critical theory, and opinion on so many varieties of media (all within the focus of the single notion of "film") that what looks like a text book in fact stands as a delightful read in itself. In delving into each facet of film study, it results in catering for all aspects of film interest, all of which are nicely separated into clear chapters and sections.

Of course, even though this book is likely the greatest of its kind out there, it obviously cannot capture everything (Where is David Lynch?). For any one interested in expanding their notion of what a film is and learning how to appreciate it for more than a Friday night out, then there is probably no better place to start. Even if you aren't interested in the bulk of critical theory, the list of movie titles in itself is worth a read: from Lumière to Chaplin, from Eisenstein to Bergman, and from Godard and the French New Wave to Altman . . . this is film, captured in a book.

Reviewed by
Dylan Popowicz ... Read more

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The final word on movies and the motion picture industry includes full biographies and film credits of stars, producers, directors, writers and more, plus an encyclopedic dictionary of all the technical aspects of film, explained in layman's terms. The most authoritative, up-to-date resource available. ... Read more

Customer Reviews (2)

We need a new edition of this book!
This book evaluates the work of a great many film artists (actors, directors, editors, etc.) and lists their every movie chronologically.I refer to my 1991 edition constantly, but we need a new edition. What are chances we'll see one?

Excellent - when can we get a new revision?
This is the best movie guide we've found (and we're on our 3rd).You can look up information by actor.It puts Leonard Maltin's Movie and VideoGuide to shame (which is weak on information by actor). I wish the authorwould come out with an updated version.We'd be first in line to buy it. ... Read more

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Your complete guide to the digital revolution now sweeping film and media into the new millenium, The Dictionary of New Media covers thousands of terms that you need to know. A comprehensive introductory essay provides an understandable guide to today's digital revolution. More than 2,400 entries cover the many new terms that have entered the language in the last few years, and also survey the basic technical, critical, and professional language of film, television, and print. ... Read more

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Amid the turbulence of political assassinations, the civil rights struggle, and antiwar protests, American society was experiencing growing affluence and profound cultural change during the 1960s. The film industry gradually redirected its energies, resulting in a distinctive break from traditional business and stylistic practice and emergence of a new "cinema of sensation." Feature films became faster-paced and more graphic, the antihero took his place alongside the classic Hollywood hero, and "downer" films like Midnight Cowboy proved as popular as those with upbeat fare. Paul Monaco gives a sweeping view of this exhilarating decade, ranging from the visceral sensation of Bonnie and Clyde, to the comic-book satire of Dr. Strangelove, to the youthful alienation of The Graduate. ... Read more

Customer Reviews (3)

Not the Best of the Series But Still Worthy
Though I hesitate to criticize any portion of the "History of the American Cinema" series, just because the whole is so encyclopedic and overdue and absorbing, I would nonetheless have to agree with Mr. Samerdyke that this entry leaves some things to be desired. As compared to others in the set (particularly "The Emergence of Cinema," which discusses film up to 1907, and "Lost Illusions," which covers the 1970's), this edition comes off thin. The seminal films and major stars discussed seem selective at best, and there simply isn't the quantity of subtext that makes David Cook's "Lost Illusions" such a fascinating and enlightening read. A notable omission is the significance of passing film generations during this decade; giants such as Gable, Grant, Tracy and Hepburn virtually (or literally) passed out of the industry during the 1960's, yet the impact of this warrants scant if any mention.

That having been said, there are strong points, such as the discussion of nonfiction films and the analysis of the more groundbreaking films from these years (and the book definitely told me some things about Jerry Lewis that I didn't know). On the whole, I would recommend "The Sixties" as a worthwhile introduction to the cinema of this period, or for completists (such as myself) who want to own this entire, wonderful series. For the hardcore film student looking to learn something new, however, this will be an interesting read but will likely come up a little short in terms of fresh perspectives.

Good Material Badly Organized
Mr. Monaco does a good job explaining the changes that American film went through in the Sixties.However, although I agree with a lot of what he says, the organization of the material in this book baffles me.

He has a chapter on landmark films of the Sixties.There is a still from Psycho on the front of the book, but he discusses Psycho AFTER he has discussed landmark Sixties films from David and Lisa to Easy Rider.He discusses The Wild Bunch before he discusses Bonnie and Clyde.

And that is just one chapter.Elsewhere, he discusses the TV broadcast of the Oscar ceremony in a different chapter than he discusses the films that won the Oscar.I can't see the logic in that.

He does a good job in detailing the contribution of editors, cinematographers and composers to changing American film in the Sixties, but there is no comparable section on directors.Another glaring omission is when he talks about male stars who became prominent in the decade, and never mentions Clint Eastwood.(The only time the spaghetti westerns are mentioned is when he discusses changes in sound technology.)

Again, Monaco's conclusions and judgments are fair and on the money, but the organization of this book drives me nuts.

Good Material Badly Organized
Mr. Monaco does a good job explaining the changes that American film went through in the Sixties.However, although I agree with a lot of what he says, the organization of the material in this book baffles me.

He has a chapter on landmark films of the Sixties.There is a still from Psycho on the front of the book, but he discusses Psycho AFTER he has discussed landmark Sixties films from David and Lisa to Easy Rider.He discusses The Wild Bunch before he discusses Bonnie and Clyde.

And that is just one chapter.Elsewhere, he discusses the TV broadcast of the Oscar ceremony in a different chapter than he discusses the films that won the Oscar.I can't see the logic in that.

He does a good job in detailing the contribution of editors, cinematographers and composers to changing American film in the Sixties, but there is no comparable section on directors.Another glaring omission is when he talks about male stars who became prominent in the decade, and never mentions Clint Eastwood.(The only time the spaghetti westerns are mentioned is when he discusses changes in sound technology.)

Again, Monaco's conclusions and judgments are fair and on the money, but the organization of this book drives me nuts. ... Read more

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DVD-ROM. 4.6 GB. Mac/PC compatible.

Imagine! — an entire film course — the history of film, the secrets of film technology, discussion of films, filmmakers, traditions, and genres — available all on one disc.

That’s what you get with the multimedia edition of How To Read a Film.

James Monaco’s book How To Read a Film has been a best-selling favorite since 1977, and has become a standard introduction to film for a generation of readers, viewers, filmmakers, and filmgoers.

The DVD-ROM brings the book to life:you can read it, but it also talks to you, plays movie clips, shows you pictures and slide shows, guides you to other references, and lets you play filmmaker by making your own movie.

The disc is fully loaded with:

• Four complete books:the completely revised third edition of How To Read a Film, The Dictionary of New Media, Reading about Film, and Reading about New Media.
• More than 130 film clips — Hollywood classics, cult landmarks, rare finds, famous sequences — over four hours of film!
• Audio author’s notes to give a new dimension to the text — it’s like having the author by your side as you use the disc
• Audio interviews with Hollywood movers and shakers
• Animated interactive diagrams to make the technology understandable
• Film labs with a short movie shot especially for the disc — and users can choose their own shots, edit the movie, and mix the soundtrack
• Virtual Reality tours of Hollywood studios, to take you where the action is
• A library of more than 140 reference texts, diagrams, charts, and databases
• Completely indexed — find references to any subject, person, theme, or film instantly
• Linked to the ReadFilm.com website — a forum for discussion, help, and updates
• Guided tours and multiple linking — easy for beginners, challenging for advanced users
• And much, much more!

This is a truly innovative interactiveexperience, combining books, disc, and website with the most advanced technology available.We predict it will be the “book” of the future. ... Read more

Customer Reviews (1)

Great Introduction to Film!
For the money, what more could you expect?There's four books, tons of movie clips... and every genre is touched upon by this wonderful set.If you expect to find a specialty in this set, then you're in the wrong place.. you need to dig further.But, if you're interested in the art and science of film... run, dont walk (or actually, e mail, dont snail mail) for this.. you wont be dissappointed, and you will be fulfilled.

This is especially loved by my 14 year old daughter, who really has been into the art of movie making since perusing this wonderful addition to our movie library. ... Read more

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A History of American Movies provides a survey of the narrative feature film from the 1920s to the present. The book focuses on 170 of the most highly regarded and recognized feature films selected by the Hollywood establishment: each Oscar winner for Best Picture, as well as those voted the greatest by members of the American Film Institute. ... Read more