Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.

"The time to live and the place to die. That's all any man gets. No more, no less"-Parson (Hank Worden) in The Alamo."Look, I don't mean to be a sore loser, but when it's done...if I'm dead...kill him!"-Butch Cassidy (Paul Newman) in Butch Cassidy and the Sundance Kid."Well, there are some things a man just can't run away from"-The Ringo Kid (John Wayne) in Stagecoach.KID: "Why don't we have a drink for old times' sake?" BUTCH: "Old times' sake? That means you got no cash"-Kid Sheleen (Lee Marvin) and Butch Cassidy (Arthur Hunnicutt) in Cat Ballou.This is a topically arranged compilation of over 6,000 famous lines and memorable quotes from over 1,000 western films, from the 1920s to 1998. Indexes to actors and actresses, film names and narrow subjects provide instant access for both cowboy fans and western film scholars.

The first book to gather lines from more than 1,000 all-time, classic films in one volume, this handy dictionary is a perfect source for movie buffs or quotation users. Alphabetized by movie with special indices by speaker, subject, and key word. Each entry features studio, director, scriptwriter, principal cast, and speaker.

Quotations are a standard way that the humanities make meaning; the pull-quote, epigraph, and quotation are standard for citing evidence and invoking and interrogating authority in both literary and scholarly writing. However, film studies has yet to seriously examine how moving images can quote one another, convening interaction and creating new knowledge across time. Classical Projections offers film quotation as a new concept for understanding how preexisting moving image fragments are reframed and re-viewed within subsequent films. As a visual corollary to literary quotation, film quotations embed film fragments in on-screen movie screens. Though film quotations have appeared since silent cinema, Classical Projections focuses on quotations of classical Hollywood film--mainstream American studio production, 1915-1950--as quoted in post-classical Hollywood, roughly 1960 to present. This strategic historical frame asks: how does post-classical cinema visualize its awareness of coming after a classical or golden age? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? As a constitutive element of post-classical authorship, film quotations amass and manufacture classical Hollywood in retrospective, highly strategic ways. By revealing how quotational tellings of film history build and embolden exclusionary, myopic canons, Classical Projections uncovers opportunities to construct more capacious cultural memory.

Film, Wings (1927) Film, The Thief of Bagdad (1924) Film, Dr. Jekyll and Mr. Hyde (1920) Film, Beyond the Rocks (1922) Film, The Cabinet Of Dr.Caligari (1920) Film, A Daughter Of Destiny (1928) Film, 7th Heaven (1927) Film, The Cabinet Of Dr.Caligari (1920) Film, A Woman of Paris: A Drama of Fate (1923) Film, The Kid Brother (1927) Film, The Sheik (1921) Film, The Phantom of the Opera (1925) Film, Gösta Berlings saga (1924) Film, The Thief of Bagdad (1924) Film, The Three Musketeers (1921) Film, Sunrise: A Song of Two Humans (1927) Film, The Crowd (1928) Film, Stachka (1925)

Pulled from the hit film that made a hero out of a tetherball-loving guy with glasses and stellar dance moves, the words, phrases, and speeches in Napoleon Dynamite: The Complete Quote Book capture the hilarious dialogue that worked its way into the hearts and mouths of millions of fans. Quirky, comical, and yet somehow perfect for any situation, the lines included here are sure to inspire exasperated sighs, bizarre conversations, and awkward exchanges in homes, high schools, and workplaces across the country. Sweet.

Alone, the second wacky comedic murder romp for Hollywood film detective Valentino, from award-winning author Loren D. Estleman Valentino wants to keep The Oracle, his beloved run-down movie palace, from being condemned before it even reopens, but murder keeps intruding into his otherwise quiet life. At a gala party held in memory of screen legend Greta Garbo, he's having fun until the host, a hotshot developer named Matthew Rankin, tells Valentino about a certain letter from Garbo to his late wife. She and Garbo had been...close. Such a letter is of great interest to a film archivist like Valentino, but the the plot thickens when Rankin tells Val that his assistant, Akers, is using this letter to blackmail him. Val is appalled by the thought of blackmail...but that letter sounds juicier all the time. Returning to Rankin's mansion after the party, Val finds Rankin sitting at his desk with a pistol in his hand, looking at Akers's dead body on the floor. Valentino's in a quandary. He'd love to see that letter, but he can't. He's gotten his girlfriend—who works for the police—in trouble, so his love life is, pardon the expression, shot to hell. Worse yet, the building inspector has kicked him out of his unfinished living space in the Oracle, so he takes his life in his hands and moves in with his eccentric mentor, the elderly, insomniac Professor Broadhead. No love, no sleep, no letter—life isn't fair! At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.