One of Hollywood's most celebrated directors captures the excitement and success of his four decades in filmmaking in this funny, absorbing memoir.

As both a distinct genre and a particular mode of filmmaking, the idea of the epic has been central to the history of cinema. Including contributions from both established and emerging film music scholars, the ten essays in Music in Epic Film: Listening to Spectacle provide a cross-section of contemporary scholarship on the subject. They explore diverse topics, including the function of music in epic narratives, the socio-political implications of cinematic music, and the use of pre-existing music in epic films. Intended for students and scholars in film music, film appreciation, and media studies, the wide range of topics and the diversity of the films that the authors discuss make Music in Epic Film: Listening to Spectacle an ideal introduction to the field of music in epic film.

Documents the cultural revolution behind the making of 1967's five Best Picture-nominated films, including Guess Who's Coming to Dinner, The Graduate, Doctor Doolittle, In the Heat of the Night, and Bonnie and Clyde, in an account that discusses how the movies reflected period beliefs about race, violence, and identity. 40,000 first printing.

Though he never reached the lead actor status he labored so relentlessly to achieve, Warren Oates (1928--1982) is one of the most memorable and skilled character actors of the 1970s. With his rugged looks and measured demeanor, Oates crafted complex characters who were at once brazen and thoughtful, wild and subdued. Friends remember the hard-living, hard-drinking actor as kind and caring, but also sometimes as mean as a blue-eyed devil. Married four times, partial to road trips in his RV affectionately known as the "Roach Coach," and famous for performances for directors ranging from Sam Peckinpah to Steven Spielberg, Warren Oates remained a Hollywood outsider perfectly suited to the 1960s and 1970s counterculture. Born in the small town of Depoy in rural western Kentucky and reared in Louisville, Oates began his career in the late 1950s with bit parts in television westerns. Though hardly lucrative work, it was during this time Oates met renegade director Sam Peckinpah, establishing the creative relationship and destructive friendship that produced some of Oates's most unforgettable roles in Ride the High Country (1962), Major Dundee (1965), and The Wild Bunch (1969), as well as a leading part in Bring Me the Head of Alfredo Garcia (1974). Though Oates maintained a close association with Peckinpah, he had a penchant for working with a variety of visionary directors who understood his approach and were eager to enlist the subtle talents of the consummate character actor. With supporting roles in In the Heat of the Night (1967), The Hired Hand (1971), Badlands (1973), 1941 (1979), and Stripes (1981), Oates delivered solid performances for filmmakers as diverse and talented as Norman Jewison, Peter Fonda, Terrence Malick, Steven Spielberg, and Ivan Reitman. Oates's offscreen personality was just as complex as his on-screen persona. Notorious for being a nightlife reveler, he was as sensitive and introspective as he was outgoing and prone to periods of exuberant, and at times illegal, excess. Though he never became a marquee name, Warren Oates continues to influence actors like Billy Bob Thornton and Benicio Del Toro, as well as directors such as Quentin Tarantino and Richard Linklater, all of whom have cited Oates as a major inspiration. In Warren Oates: A Wild Life, author Susan Compo skillfully captures the story of Oates's eventful life, indulgent lifestyle, and influential career.

Film directors articulate creative visions that provide insights into national cultures. 18 essays highlight Canada's prominent Anglophone and Francophone filmmakers.

The original script was sold to a major Hollywood studio virtually overnight; the screenwriter was working as a pool boy and driver for the producer; the director was considered an "acid freak" by the studio heads; the star was a 74-year-old actress who didn't know how to drive a car. The film flopped upon release but later became one of the great cult successes of all time. This is the fascinating, never before told story of the making of Harold and Maude, shot guerrilla-style in the San Francisco Bay Area by a crew of "New Hollywood" filmmakers in the winter of 1971.

Bringing the Toronto lakefront to life, this survey presents the stories of a largely unrecognized and forgotten legacy. This book examines the Toronto waterfront, past and present, through the lens of four nearby districts—the Scarborough Bluffs, the Beach, the Island, and the Lakeshore (New Toronto, Mimico, Humber Bay, and Long Branch). A rich photographic journey supplements the history and explores the geography and landscape of these waterfront districts, revealing a thriving culture of people who relied upon Lake Ontario for survival. Anecdotal, descriptive, but also deeply personal, this is more than a local history, it is a layered trip into time and place.