Performing Arts Books

This is going to be short because english is not my first language.

This is an excellent study on the action genre. I never thought somebody could analize action movies like this.

Lichtenfeld has worked both in making films and as a film critic and commentator, including doing extra features for DVDs of several action films. He sees this popular film genre as "derived from the Western, film noir, and the police procedural (with special guest appearances made by the disaster film and others [with an evolution] quite analogous to the horror film." Though many films depict violence and mayhem, the action film is distinguished in that it ushered in a "new violence [which] would be deployed more to pleasure audiences than to jar them." This "new violence" came about from a shift in standards marking a "New Hollywood" and related changes in structures and pacing of films and cinematographic techniques such as lingering on the violence by slow-motion and close-ups. It is these and other elements, not merely the violence and plotting, which account for the new genre of the action film. The cluster of elements reflected changes in the culture's psychic relationship with violence and what it looked for in entertainment. Bonnie and Clyde is pointed to as a seminal action film, with the films Billy Jack, Shaft, and The French Connection closely related to it in paving the way for the action film by demonstrating its popularity and giving guidance for filmmakers. Advertising, publicity, and marketing of action films has as much a part in the author's multifaceted study of this major contemporary film genre as film history, film editing, and cinematography. References to numerous action films over the past couple of decades make for enjoyable as well as engaging and stimulating reading.

Useful because it shows there is a deeper level of impact than just the shoot 'em up bang-bang to the typical action picture.

Lichtenfeld's book is required reading for anyone interested in the contemporary action film. Beyond its obvious merit as the best book available on the genre, I can recommend it as a model of genre criticism. I've used this as a text in my course on action cinema at Wesleyan where I teach it as an exemplar of genre studies. Lichtenfeld offers a compelling thesis about the genre's popular/cultural appeal without losing sight of industrial imperatives. This book does much to balance to often overly theoretical writing on the subject by offering a grounded, historically-minded account. Moreover, Lichtenfeld's critical observations are spot on, and his descriptions of scenes and sequences will send you back to the films again and again. The additions to the new edition further shore up his argument and expand the scope of films. It is also a fun read!

Being both a lover of film and a student of history, you can imagine my interest in this book. Who can deny the impact movies have had on the 20th (and now 21st) century? And what type of film most exemplifies what movies are capable of? Action, brother. Action.

I was introduced to this book and this author through a radio talk show I heard recently. Mr. Lichtenfeld came across as extremely intelligent, likeable and very knowledgeable about his subject matter. I immediately ordered the book from Amazon.

I read it through in one weekend (it's so accessible to even non-film students) and I couldn't believe how much I learned about movies that I had watched over and over again all my life. Mr. Lichtenfeld treats the topic with reverence without once losing the joy of what makes these movies great: the characters, the chases, the explosions and, of course, the lines. His breakdowns of each landmark film and his separation of them into specific categories makes it so easy to follow the development of the action genre over the last half century.

Even the bad films (my apologies, Mr. Seagal), of which there are many, are used as examples of the importance and social influence this genre has had on recent generations. They're all in here: science fiction, superhero actioners and even westerns, of which I have a particular fondness, are discussed.

I will pass this book on to my other film-loving friends with my highest recommendation. And now I'm off to watch 'Lethal Weapon' for the 56th time, albeit with a new outlook.

Finally action movies get their due! It's about time.

If you love Lt.Ellen Ripley and actress Sigourney Weaver? - you must read this book!

In the span of the twenty-five years since the release of the first Alien film in 1979, much has changes in the American culture and society and the film industry. It would be easy to write a relatively standard work analyzing the four films in the series that include Lt. Ellen Ripley (Sigourney Weaver). Other than those interested scholars and, perhaps, fans engrossed with those films, such a book would be rather dull. But Gallardo C. and Smith have produced a far different, far more unexpected and powerful work. This is done through an elegant and insightful organization of the work. Each of the four major chapters deals with one of the four films (Alien, Aliens, Alien3, Alien: Resurrection). Nicely written personal forward, introduction and a conclusion surround these, but it is these four chapters that are the meat of the text.
At first glance a potential reader may imagine that these four chapters have little to do with each other, as each deals with a different film. What is so wonderful about this organization is that Gallardo C. and Smith are able to actually accomplish two things with their text. The first is a surprisingly well researched and detailed close-reading of each of the films. But the second, which would likely not be possible in any other format, is a tracing of those cultural shifts of the last twenty-five years. When the first film was released in 1979 the United States was on a cusp both culturally and politically. Second Wave feminism was reaching a crest of cultural importance, the rise of the Republican Right was beginning to be noticed, and one small decision to change a protagonist from male to female was surprising in many ways. This was a female hero that did not scream and run to her protecting male. Gallardo C. and Smith do not pull punches, though, and while they praise Alan Ladd Jr. (then the head of 20th Century Fox) for casually suggesting the change, they also point out that he gathered together secretaries from the Fox offices to view Sigourney Weaver's screen test because in the late 1970s there simply were not female executives in the film industry.
With the emergence of the Reagan-era, the defeat of the E.R.A. (Equal Rights Amendment) film in the United States changed as well. The new heroes of film in the 1980s became muscled "hard men" and Gallardo C. and Smith spend much time discussing the changes made to the character of Ripley by James Cameron as a reaction to this change. The two most general critical replies made about these first two Alien films has been that the first suggested a new type of female hero, while the second was one of two things (or perhaps a bit of both): Either it is a film about reifying the nuclear unit (in the form of Ripley as mother, Newt, a young girl as daughter, and Hicks, a marine, as father), or it is a metaphorical Vietnam film.
Gallardo C. and Smith have it both ways, emphasizing the polyphony of the texts, and the fact that multiple readings are not necessarily false readings. They become more critical of the final two films featuring Lt. Riply, but in a carefully respectful way. Blamed for the lackluster reception of the third film are mostly studio problems that led the film to essentially be the "merged" versions of two competing scripts within the studio - and that with far too little "development" time. Of the fourth they note that the film undermines much of what came before it because of the underlying ironic and postmodern nature of Alien: Resurrection.
Gallardo C. and Smith claim early that they do not intend to write a "theory book" for such a book is beyond the scope of what they intend. Any while they have not, in another way they have written a "theory book" of a certain time. The organization of their volume is such that the intellectual history (the changes in theoretical perspectives from 1979 and after) can quite easily be fished from their text. The transition from Second Wave to post-feminism (or Third Wave, or whatever term you prefer) is there. The transition of the Modernist heroes of the 1970s to the muscle-bound Sylvester and Arnold-like character of the Reagan-era (which were ironic, but few seemed to notice) to the postmodern pastiche and irony are all just under the surface, waiting to be considered.
That "just beneath the surface" level allows Alien Woman to work very nicely as both a film studies work on its topic, and as, literally, an intellectual history of one of the more profound times for change in the academy in some time. The character of Ripley has always been on that embodied a certain amount of "sex trouble," but by placing the films in their own times, Gallardo C. and Smith manage to analyze with being over critical. This isn't the type of criticism too often found in the academy, the kind I like to call "claiming Napoleon was a bad general because he never called for air support." This is the kind of critical examination that allows theoretical perspectives to exist, but doesn't think an analysis of Ulysses should spend fifty pages discussing Foucault and five with the actual text. So, when the authors make their claim that this is not a "theory book" what they seem to really mean is, "we are theoretically informed, but are dealing with our texts, not polysyllabic jargon. And it is all the better for it (this from someone who likes theory, too!).
Gallardo C. and Smith have produced a work that is developed, complex, insightful, and still maintains a readability that was so accomplished I almost felt jealous. It is a suitable for collections at colleges and universities with film programs, film studies programs, English programs that emphasize cultural studies, American studies programs, and popular culture programs. I would recommend it for upper level undergraduates, scholars of culture, feminism or speculative fiction in all its form.
I just published my first book (do not worry, I wont name drop it here!) and upon publication I approached the large dry eraser board in my office and wrote down all the possible "next book" projects I could think of and, among these was a book on the Alien films. It turns out that Ximena Gallardo C. and C. Jason Smith have already written it, and I'm scholar enough to know the did a better job than I would have. Alien Woman has my highest recommendation.

About a two weeks ago, my husband bought this book, and we have been notified that it will be on its way soon. I'm saying this because for some reason Amazon delayed the delivery, and if it happens to you, it's worth the wait. I know it's worth it because I borrowed a colleague's copy.

But to the review: Having watched the first three movies only once when they were released in theaters, I found that ALIEN WOMAN helped me remember many, many scenes I had forgotten. I believe that this is one of the book's strengths: the authors deal with the movies in their entirety, as opposed to dealing just with selected scenes that "prove" their points and ignoring the rest.

Another strength is how easy and fun this book is to read! No cumbersome quotes, no "academese" to muddle through-a book as entertaining as the movies, and even more exciting sometimes. Where else will you find an academic text that describes Ripley's spacing of the Alien Queen as "bitch-slapping the Alien into space"?

ALIEN WOMAN does have an agenda. It centers on Ripley more than the monster, and it does reveal how hard it is for actresses to find a role different from "babe," "mom," and "old lady" (and I'm old enough to remember what few roles women had before ALIEN was released). It is the book's contention that Ripley manages to escape this mold, and so, that she's a somewhat unique female hero in sci-fi cinema-and more than just a dragon slayer.

All in all, ALIEN WOMAN was good enough to make me want a copy of my own, and to make me rent ALIEN RESURRECTION, which appeared to be too violent and silly in the ads for me to care about watching it before I read this book.

Alien Woman is one of those books that works to find the proper context for an aesthetic product. Gallardo and Smith read the Alien films in the context of gender theory and feminism (and the way gender theory and feminism fit into the very different cultural moments of the films: 1979, 1986, 1992, 1998). For them, the films unevenly chart such themes as the primacy of the body, the breakdown of the rationalist-humanist white male subject, the fear of woman and the feminine, the identification of the monstrous and horrific with the feminine and with sexuality, and the emergence of philosophical post-humanism as an alternative to Renaissance humanism. Though they do not put it in these terms they essentially track the consequences of a Hegelian-style equation: the split "Man vs. Alien" is merely the reflection of a split within category "Man (human)" itself, "Man vs. Woman." In other words, the fight between Man and Alien is really the gender trouble within humanity itself.

The authors have an admirable sense of focus: outside of an introduction and an afterword, the book devotes one chapter to each film analysis: no novel or comic book spin-offs, no video games, no parodies, no fan-fiction. Gallardo and Smith know these films backwards, forwards and sideways. Heavy theory is relegated to the footnotes (making the whole thing easy to read), but their knowledge of Freud, Jung, Foucault, and Butler shows in the pages. And for several years Gallardo and Smith have chaired the science fiction section of one of the largest academic popular culture conferences in the world: Alien Woman is particularly strengthened by their almost encyclopedic knowledge of science fiction movies good and bad; the reader benefits from their sitting through these often awful films (Ice Pirates, anyone?), and connecting them to the Alien series. The book also hits every substantial piece of Alien criticism: future scholars will start reading about the films here, and then follow the bibliography.

Gallardo & Smith have written a work that *will be* one of *the* most important books ever for scholars AND fans of the Aliens series of films. This serious and thought-provoking, clearly-written work is immanently readable at the same time as it is insightful and rigorously scholarly. It will promote greater academic understanding of science-fiction and feminism (together and as discrete studies) and those who read it will want to own it, reference it, and read it for sheer pleasure again and again.

The study examines the entire story arc of four movies that made us gasp and wonder, and made us re-examine science fiction not only as more than just "bug eyed monsters against the good GUYS" but also as reflections of the historical era from which each film arose. This seriously well-researched and well documented work traces the history of the movie's compelling images, (for example, giving us "ah ha" moments about the inspiration for the films' artwork, facts that I know I never knew about the reason for the Aliens' form). It gives us intricate close-readings of each film, examining scene after scene with insight and depth, and helps us understand the metaphors of Corporate space and humanity in a post-human era.

One of my favorite parts is the close-reading of Ripley's suicidal leap in Aliens 3, and I had to gloat as Gallardo & Smith reveal the background meanings and imagery of her strongly compelling act of grasping the newborn alien bursting from her chest. I was delighted when I realized that my own feelings watching the film for the first time were right (I knew it!) and had that comfortable feeling you get when having a great conversation with people who share your passion for interesting works of cultural significance.

Never a "publish or perish," jargon-laden ivory-tower read, this work is compelling and fun, at the same time that it contributes important scholarship to a pivotal science fiction franchise and science fiction studies in general. If you are a fan of the series, but not an academic, you will still love this book, and learn something new and worthwhile about your favorite sci-fi. If you are an academic looking for rigorous critical interpretation, you will also find what you are looking for.

A must read for fans, scholars, and anyone interested in the "post-human" subject and Ripley's compelling character. Plus, a heck of a lot of fun and hard to put down.

I recently bought all the box sets of X-Files DVD's and have been watching them in order when I came across this book on Amazon. It was a valuable source of information and trivia for all the episodes for that season. I only wish I had gotten the earlier volumes of this series and that it had continued for seasons 8 and 9.

After a much anticipated wait, I was glad to have this book appear in my mailbox shortly after it delayed in publishing. Happy as a clam I thumbed through the pages, seeing each episode written in a "short story" style with dialougue taken from the scripts. I am also glad to see that they kept the title "all things" in lower case, as Gillian Anderson had when naming the episode she had written and directed. I have all season guides and I must say this is one of the best ones put out.

This Book would have to be my all time favorite that only adds to my collection of vol.3-6 now. If you want more x-files, and want to learn more about Season 7, I suggest buying this book. Of course, like the other volumes it has in-depth details of each episode as well as black & white pictures to accommodate them. There are eight pages of color pictures: X-Cops, Je Souhaite, Fight Club, FPS, and, Hollywood A.D.. Very Cool! I enjoy this book very much, despite the delay in publishing, but beleive me, it was worth the wait. There's also the back story of why the ending of Requiem was kept a secret, why Chris waited until the last day of shooting Requiem to write the finale, and why only 2 people knew of it's true ending. . . . All in All, an Excellent Book to add to your X-Files Paraphernalia!

This book has great photo, dialogue each show, the cast, interviews, and intersting facts about the show. This is a must have in any one x-files colection.:) :) :) :) :)

I had some apprehensions about this book before it even came out. First, the release date for this volume was pushed back, which is not typically a very good sign. And second, this volume was being drafted by Marc Shapiro and not Andy Meisler (who did such a wonderful job with the previous two volumes). But after having read through it, I can happily allay any apprehensions about this book not living up to its predecessors. Volume 6 in this series is just as good, if not better, than those volumes that came out before it.

Marc Shapiro does a great job in delivering the goods behind every episode. I was very impressed with this from Andy Meisler, and Marc Shapiro doesn't disappoint. There is interesting background information on all the episodes - things like the time-crunch in making "Requiem" and the fact that Gillian Anderson had to wear a wig in a car scene in "The Goldberg Variation" because it was shot after her hair stylist had sheared off her lovely locks.

Included in this book are eight full-color pages of images from the seventh season. Those images selected are fine enough, but they only focus on about four or five episodes, which doesn't do such a great season justice. It would have been nice to see more of a mix - some mythology episodes ("The Sixth Extinction" and "Sein Und Zeit") and stand-alone episodes ("En Ami" and "All Things"). But this is a minor detraction from an overall sharp-looking book.

Any fans of the series should have this volume sitting on their bookshelves. This is a must-have, and it is an enjoyable read. Well worth the wait in the time it took to get it published.

If you don't know this book, buy it immediately. It takes American film criticism up to about 1970 and coincides with the time Sarris was involved with the (real) Village Voice, Jonas Mekas, American Cahiers,and the founding of the NY Film Festival and the national society of film critics. It took me about five years of reading his reviews until I finally got it - Sarris had understood that the most profound thoughts and themes were played out with style and panache by genre filmmakers with personal obsessions and ideas that did not require Western Union to spell it out.

There's some things to quibble about (I never could see why he thought so highly of Blake Edwards, but I keep trying because I trust his insight. Even Sarris can change his mind as he did on Billy Wilder a few years back).

If you are a film buff and have not discovered his work (also recommended:
Confessions of a Cultist; The John Ford Mystery Book; You Ain't Seen Nothing Yet are among the best) start here. That goes double if you experience guilty pleasure and see things no one else does in people like Anthony Mann, Michael Powell, Sam Fuller, Max Ophuls, Budd Boetticher or James Whale. I have often given this book as a gift to film loving friends. It opens a world of discovery and rapport when a friends "gets it" and suddenly, you both have a shared sensibility and frame of reference.
Also, check out his website for yearly top ten lists and also the work of his wife Molly Haskell (especially good on Howard Hawks).

This volume parses the good guys from the bad guys, tells you whom you should love and why, and summarily dismisses the ones not worth taking seriously. In other words, for good or bad, it arms you, as will no other film book ever written, with a set of eloquently-stated prejudices that may seal off certain directors from your serious consideration for all time. (It would be too glib to say that this is the books best and worst point.) Suffice to say, it has taken years for me to tear down the wall Sarris built between me, as a budding cinephile, and William Wyler, Billy Wilder, John Huston and even John Frankenheimer, for that matter. (These are just a few of the ones I think he was, or may have been, wrong about.)

But I love this book and always find it worth picking up to reread a few entries, for two or three reasons that never grow old:

1) Sarris IS an absolutely remarkable writer. His prose bristles with alternately apt and acid phrases and insights. The parallel between Ambrose Bierce and Sarris has grown on me through the years. (I think it was Sarris who brought currency to the word "pretentious"-- possibly THE serious put-down word from the 70s to the 90s, possibly to the present-- by the way. He used it with unerring surgical delicacy, as a bludgeon.)

2) He is hard to argue with in his negative evaluation of certain other respected directors. Thirty-five years ago, Sarris renounced Kubrick, noting, in typical form, that the very fact that he made one film every 5 years seemed to be all the proof his advocates needed of his integrity. Ouch! And he said that Kubrick is the director of the best coming attractions in the business.

This last is highly prophetic of the present general situation, when Hollywood has made a sort of science of over-selling weak films with absurdly hyperbolic trailers that often have little to do with the tone or experience of the films they advertise. This comment indicates also how much of Sarris is audaciously arguable, and out of synch with conservative academia re Kubrick and just about everything else. --Not a bad thing, as far as I am concerned.) And I think he was also decades ahead of the curve in recognizing Keaton as Chaplin's better.

3) He has been, for decades, an antidote to Pauline Kael. Period.

If you know the directors covered well enough to take it all with a grain of salt where needed, this book is probably the best read on movies and their directors from the second and third quarters of the 20th Century that will ever be written. THE great mapping out of this seminal period by the auteur theorys chief surveyor-- and a fun and drolly amusing place to pick up your snazzy-looking anti-philistine, anti-pretentious attitude off-the-rack.

There are few books on cinema that are more important than this title. To any serious student of film this book is perhaps the only book that you will refer to as long as you watch films.

Extolling the virtues of The American Cinema would be too hard. Beside being an invaluable reference for cinema between 1929-1968, it also contains wonderful peices of film theory. Because of this The American Cinema can be read a few pages at a time or you can completely dwelve into the material. No matter the method, Sarris will engage you in a meaningful dialogue of film. Film literature is rarely able to be this give and take. Those with an above average inclination toward cinema should purchase.

When it first appeared in the late '60s, Sarris' book was literally memorized by critics, students and teachers. It provided a root approach to discussing film, quickly absorbed, and readily shaped to one's personal tastes. A beautiful combination of reference and aesthetic, it ushered in the era of "the director as superstar," and was completely absorbed by everyone in film. Unfortunately, its absorption was so complete, the author, Mr. Sarris, was for the most part uncredited and unrewarded.

This is the bible for children's folksongs, with artwork by Barbara Cooney the icing on the cake!

Our family has loved this songbook very much. There are ninety songs in the book. Written by Pete Seeger's sister, American Folk Songs for children has songs each of them suggests an activity. There are songs for going places, songs for knocking on doors and windows, songs for eating, songs for dancing, and many others. I would like to buy a copy as a gift, and I hope there is a reprint date soon.

This is the book with the favorite songs from my long ago childhood. So I bought it for my daughter so she could sing these to my grandchildren.

It has the good songs. Songs with lots and lots of verses. Fun songs for older kids and songs to sing babies to sleep.

This book is a treasure! The introduction gives a wonderful background on these authentic folk songs and how they can be used with children. This is an essential book for music teachers, but also great for parents. Be careful, though, because once the children know the songs you'll hear them over and over again... :)

I own a copy of the original print of this book. It posseses some of the most whimsical little songs I have yet to hear. Its just...fabulous...and I don't even know how to play any instruments....lol

My niece is into dancing and reading books, so the Angelina Ballerina series if perfect for her. I chose to give her this book for Christmas because it fit the holiday theme.

I really loved this book. It was my very first book I got. Of course I got it because my name is Angelina. When I was little I used to think the book was actually about me! I own the first publication of this book and noticed that in the original one I've got it says "Santa Clause" and in the new one that my little cousin has it says "Father Christmas". I don't understand the change. Although I still recommend this book for any little girl who loves to dance, or who's name is Angelina!

I came across Angelina's books a while ago. ...Great book, speaks to the kids for real

This beautifully illustrated tale gives the reader a warm feeling when a retired postal worker, who is alone in the world, is visited by Angelina and invited to appear as Father Christmas at the school Christmas show. The community appreciates his contribution and he is invited to the school show every year. This is a wonderful reminder to us all that the elderly should not only be cherished, but that they still have much to offer to the community.

Young Angelina Ballerina couldn't be more upset when she spots old Mr. Bell sitting all by his lonesome at Christmastime, looking like a sad puppy. Mr. Bell used to be the jovial postman in town, who brought gifts and cards to everyone during the holidays, and played the town Santa Claus for all of the little mouselings. Angelina, full of Christmas spirit, decides that it is up to her to make Mr. Bell's season bright. So, with the help of her young cousin Henry, as well as her father, Angelina bundles up some cookies and cakes to bring to Mr. Bell. But when they arrive, Henry is too concerned about Christmas Eve, and whether or not he will have the chance to see Santa Claus in the flesh, to notice the joy that twinkles in Mr. Bell's eyes at the prospect of visitors and good, old-fashioned holiday cheer. When Henry learns that Santa Claus comes in the middle of the night, and that he won't get to speak to the illustrious Saint Nick, he bursts out in tears. That is, until he learns that there's a live Santa Claus living amongst them all, right here in town, and that his presence will not only bring a smile to young Henry's face, but fill old Mr. Bell with the joy of the holiday, as well.

ANGELINA BALLERINA can be called nothing less than a children's icon. Her presence in numerous glorious children's books, and now in her own TV show make her more and more well-known, while her lovable, kind heart grows bigger by the day. Katharine Holabird works wonders with a pen, as she tells the tales of the young, ballet-loving mouseling who has big dreams, accompanied by an even bigger heart; while the gorgeous, full-color illustrations by Helen Craig bring each and every Angelina "tail" to life. ANGELINA'S CHRISTMAS is a charming addition to the mouseling library, and a wonderful holiday classic for all!

Erika Sorocco

I rate this book just a slight notch above the KQED AYBS book, simply because the creators of AYBS had input in this project. It also highlights the bit players who appeared on AYBS, otherwise the two books do a fine of episode, character, and actor bio's. But the before mentioned book does a slightly better job at reviewing 'Grace and Favour' and the Australian AYBS version..., so you have to buy both :-)

For those of you who have the Are You Being Served? book by Adrian Rigelsford--are you free? For those of you who don't, are you also free? Well, gather around everybody, and that also includes special Grace Brothers board members.

This 25th anniversary book by Richard Webber with the two co-creators of the show, Jeremy Lloyd and David Croft, is basically an update of the previous book, but in a slightly different format. The story-by-story synopses are there, but instead of the * to **** ratings, there are memorable dialogue bits, that are always good for a laugh or two.

New material: familiar BBC performers who made guest appearances (mostly as hapless customers) on the show, with a short bio on each one. However, why was Gorden Kaye, who later starred in Lloyd and Croft's French Resistance comedy, 'Allo 'Allo, excluded from this section? Also, an episode-by-episode list of guest appearances.

What really perks me are younger photographs of the stars. They are recognizable but it's interesting to see how they looked before they joined Grace Brothers. And Lloyd and Croft's personal observations on the stars are filled with the fondest and highest respect.

There are bios on some of the minor but regular performers, such as Vivienne Johnson (Mr. Grace's nurse), Milo Sperber (Mr. Grossman) and Benny Lee (Mr. Klein), as well as those in Grace And Favour.

There are some updates. Inbetween books, Arthur English, who played Mr. Harman the packing department head, died in 1995, as did Billy Burden (Mr. Moulterd), in 1994.
However, the icing on the cake is the list of hot dolly bird secretaries who appeared throughout the season. My favorites: Penny Irving, the luscious redhead who appeared during the show's peak era, Louise Burton, and the Barbie Doll Candy Davis, who now got a Master's degree and is teaching. Wow, brain and beauty! How rare! Another hottie, Debbie Linden, sadly died in 1997.

My recommendation: get this AFTER the Adrian Rigelsford book to get the optimal enjoying effect. You'll be right as rain then.

This lovely and indeed comprehensive tribute book commences with an introduction by Jeremy Lloyd and David Croft (co-writers of the series) and a foreword by Lloyd's ex-wife (and two-time guest), Joanna Lumley, and it is sure to be treasured by fans of this entertaining British comedy.

What makes this book so enjoyable is the amount of participation author Richard Webber has received from everyone involved in the production (from writers, directors, costume designers, etc., to the actors themselves), and the book is filled with their many anecdotes. In the case of deceased actors Harold Bennett (Young Mr. Grace) and Arthur Brough (Mr. Grainger), assistance has been provided by their son and daughter, respectively.

The book includes a detailed history of the series--how it came about, how the actors were chosen, why certain actors left the show, how certain effects were achieved, and so on. Also included are chapters on the stage show, the movie, the 90's sequel (Grace and Favour also known as Are You Being Served? Again!) and a look at the success of the show (and its US and Aussie spinoffs) abroad.

My favourite parts are the four-page bios of the original cast, which includes b/w and sepia photos of the actors at various ages and stages in their careers. (A priceless inclusion are the childhood photos of most of these actors). This is followed by one-half- to one-page bios of "other memorable characters"--the maintenance men, the replacements for Mr. Grainger and Mr. Lucas, Old Mr. Grace, the nurse, and the canteen manageress. There are separate chapters for the secretaries and the lift girls with brief quarter-page bios and tiny b/w photos of each. Finally, there is a chapter devoted to "familiar faces" which contains brief quarter-page bios & tiny b/w photos of every actor to have appeared as a guest on the show.

The book also includes a complete episode guide, often with a particularly memorable snippet of dialogue from the episode being summarized or a "memory" from one of the cast of crew. An episode guide and brief quarter-page bios are also provided for Grace and Favour. Finally, there is a detailed index.

The book is a 10" x 7 3/4" 176-page hardcover printed on thick, good-quality paper with a matte finish, and it contains many b/w and colour photos throughout.

In conclusion, this is an attractive, well-researched, well-written, comprehensive and thoroughly enjoyable look back at one of Britain's most popular comedies and at the cast and crew who made it so memorable. Very highly recommended!

For those of you who have the Are You Being Served? book by Adrian Rigelsford--are you free? For those of you who don't, are you also free? Well, gather around everybody, and that also includes special Grace Brothers board members.

This 25th anniversary book by Richard Webber with the two co-creators of the show, Jeremy Lloyd and David Croft, is basically an update of the previous book, but in a slightly different format. The story-by-story synopses are there, but instead of the * to **** ratings, there are memorable dialogue bits, that are always good for a laugh or two.

New material: familiar BBC performers who made guest appearances (mostly as hapless customers) on the show, with a short bio on each one. However, why was Gorden Kaye, who later starred in Lloyd and Croft's French Resistance comedy, 'Allo 'Allo, excluded from this section? Also, an episode-by-episode list of guest appearances.

What really perks me are younger photographs of the stars. They are recognizable but it's interesting to see how they looked before they joined Grace Brothers. And Lloyd and Croft's personal observations on the stars are filled with the fondest and highest respect.

There are bios on some of the minor but regular performers, such as Vivienne Johnson (Mr. Grace's nurse), Milo Sperber (Mr. Grossman) and Benny Lee (Mr. Klein), as well as those in Grace And Favour.

There are some updates. Inbetween books, Arthur English, who played Mr. Harman the packing department head, died in 1995, as did Billy Burden (Mr. Moulterd), in 1994.
However, the icing on the cake is the list of hot dolly bird secretaries who appeared throughout the season. My favorites: Penny Irving, the luscious redhead who appeared during the show's peak era, Louise Burton, and the Barbie Doll Candy Davis, who now got a Master's degree and is teaching. Wow, brain and beauty! How rare! Another hottie, Debbie Linden, sadly died in 1997.

My recommendation: get this AFTER the Adrian Rigelsford book to get the optimal enjoying effect. You'll be right as rain then.

I have watched this show for years and this is such a great book. There are episode details and bios, and even customer bios. Joanna Lumley from AbFab was in the show a couple of times.

If you like AYBS, get this!

This book already saved us money!

I have only had "The Art of Film Funding" about a week and already it's saved our production company hundreds of dollars. The research I was able to do in the pages of Dean's book made our first meeting with an attorney go quickly and smoothly. It's putting us a few precious steps ahead of the game, and in the documentary world that can make worlds of difference in the cost of your production.

There are so many post-its on the different pages it looks like I trapped a herd of butterflies inside the book.

Buy it, read it, keep it by your side all during your film funding process.

PJ Smith
Producer, RGO Media Associates
Author - The Power of the Dark Side: Creating Great Villains, Dangerous Situations, & Dramatic Conflict
Inner Drives: How to Write and Create Characters Using the Eight Classic Centers of Motivation

As a documentary filmmaker in desperately search for funds to make my film a reality, I can say that this book has helped me explore the infinite possibilities that lay out there in the universe waiting for me to tap on them. As the cover of the book evokes, Carole Dean gives you the best tips for you to catch those colorful funding butterflies that can not only bring you the moneys you need but will help you spread the word on your film and sow the seeds of what can become a forest of funding opportunities. The back of the book is an incredible resource that has over 100 funding organizations listed with contact information, you have months of research done for you to find the funding you need.

At last...a positive attitude successfully combined with real experience in the independent film world!! The admirable Ms. Dean, who started a business selling those end pieces of film from the major studios to aspiring filmmakers with tight budgets has her heart in the right place. She admires people who are following their dreams by taking those first steps and wants to help them keep steppin' to the finish line. I gleaned a lot out of the stories of how individual filmmakers got their films made. Read the book, then get to work on your film!

This book aims at the beginning independent filmmaker. As such, it's an excellent introduction to thinking like a business person, opening your mind to new approaches to funding, and becoming aware of potential legal issues. The prose is highly readable, even energizing as her positive spirit infuses every page. Reading this book is like a late-night jam session crammed full of the excitement of ideas and possibilities. The interviews in the book are useful both for their good advice and for the sense they convey that there are very specific people available to help you get through the process. The information presented in this book makes film funding seem doable.

When I opened this book, I expected two things. One: Due to the sub-title "Alternative Financing Concepts" - I expected a chapter on "How to Sell Your Body Parts!" and, Two: I expected this book to be boring.

Happily, I was wrong on both parts - but why do I need an extra kidney anyways?

Ms. Dean does a great job in making the art of film fund finding, well, fun. With years of experience on both sides of the business, she explains in a mix of interviews and stories the process of pitching your idea, looking for those willing to fund your film and all the nuances and approaches you should take. Not only that, she includes an EXCELLENT reference section (50 pages of a 250 page book) with names, addresses, phone numbers, websites, etc. That alone is worth the price of the book.

Much of the first few chapters in the book revolve around pitching your idea. Even if you are on the fence in terms of whether to make your film or not, Ms. Dean emphasizes a lot of the aspects of Pitching that can come in handy in any situation where you have the opportunity to talk about your idea.

With my own independent film on the horizon, and the aspect of me trying to sell a kidney to raise funds, I was surprised when the first half of the book focused mostly on documentaries. I wondered as I read through those pages as to how the rules and ideas and suggestions she was giving would fit my project: A feature film with 15 actors using an original script written by me. Not my documentary on the slaughter of innocent ants by rabid 10 year old boys with magnifying glasses.

Half-way through the book, though, she does focus on the aspect of how to find funding for your independent film and then she goes on in later chapters to deal with "Branding" (making your pitch unique with photos or other graphics), "Finding Partnerships" and even a chapter on "Federal Tax Laws" - and again, if you think these chapters are pages and pages of droning commentary - think again: Most of these are interviews with people in the trenches who have worked through the process, know the process, live the process.

One of the things I found surprising in this book is there is a lack of focus on story and the story you are trying to tell (whether it is in Documentary Form or Fictional/Non-Fictional 3-Act Structure Story Telling). A recent seminar I went to on Independent Film one of the speakers came right out and said: "Is your story worth telling?" Though Ms. Dean touches on it a little, there is not a lot of time spent on making sure that your story is one that has an audience. Granted, a book about film financing should be about film financing not a book on whether your documentary of sadistic 10 year old boys is worthy for a slot on PBS during their next pledge drive.

Another issue I have with this book is a common one: Create a list of all the websites mentioned in the chapters for easy reference. Though the expansive reference section alone is worth the price of the book, Ms. Dean sprinkles almost every chapter with names, websites, even phone numbers of people to contact. It would have been the icing on the cake to also include those in the reference section under a separate heading broken down by chapter. That way lazy writers like me don't have to skim through the chapters looking for the familiar www. Though, in their defense, they did a unique thing of highlighting the interviews so they could be found quickly.

Once again Michael Weise Productions has produced a great book, unique to the marketplace filled with all the nitty-gritty details of what it takes to find financing for your film. Hats off to them, and Ms. Dean.

Auditioning is unequivocally one of the best books on acting I've ever read. Merlin presents her information in an easy to read, clear and concise manner. You see, this book is more than an authors commentary about the auditioning process. She delves into the craft itself and tells you how you can approach each role and make it your own. I myself am just beginning my acting career and after having read this book I no longer view auditioning as a daunting, yet necessary evil as I am sure many of my fellow actors have. I am looking forward to the process. I now know that I can view the opportunity as a chance to grow and learn as an actor. Of course I will continue to have those proverbial butterflies in my stomach, but rather than let it hinder me, I will allow these nerves to fuel my performance. Don't know if I would ever have reached that plateau of enlightenment had it not been for Merlin's insightful book.

I really enjoyed this book . The audition tips are very useful. I also just read a new book. Twelve Step Plan To Becoming An Actor by Dawn Lerman. If you have really studied, buy these two books and head to LA
and make your mark .

Jean Harris
NY

This book is a great tool for the auditioning Actor, it puts everything into perspective. An easy quick read with tons of great advice and information you always should have known.

Before I read this, I had a big problem with my confidence as well as with everything else. But this book really helped me believe in myself, believe it or not.

This is a great book to read for actors! It tells you how to deal with nervousness and, turn it into a positive feeling for you to work with. This book has helped me out a lot. And, now, I know what to expect and, how to get through my next audition, with flying colors!

If you want to make it as a screenwriter, you MUST read this book. Not only is it chock full of great info, inside advice and suggestions for strategies that will work for you... it is a REALLY FUN READ! The author does a great job of grabbing your attention, and making you want to hold on for dear life as he takes you inside the Hollywood system and tells it like it is, dirty laundry and all. By the time you get done with this book, you will know what to do, what not to do, and how to persuade others to see things your way in pitch meetings, that you are SURE to B$ A SCRIPT SALE! Filled with advice you can USE, information that will help you succeed, and strategies for B$'ing that will get you to where you want to be in less time, with less pain and aggravation along the way. A truly necessary resource for ANY serious screenwriter!
MARIE JONES, Screenwriter and Book Reviewer, ABSOLUTEWRITE.COM and BOOKIDEAS.COM

This ebook focuses on the best strategies on how to write a good screenplay to sell. It is comprehensible with up-to-date information and exceptionally inspirational. When you think on how to write a good screenplay a lot of things come to mind but Paul Sinor has compile for us the most important survival tips to win in this game. There is no doubt that this book will inspire anyone to be a screenwriter or to become a better one. There is an unbeatable combination that only Paul Sinor can compose for you to begin your journey at the same time that your own drive, ambitions and writing skill will expand like you never seeing it before.

Those who buy this book will be fortunate enough to learn about the screenwriting trade and expand their horizon whether it is for writing or just for education. Don't hesitate to get it today.

This is a great read... I think that it's a great book for a screenwriter to have especially when you don't live in a city that lives and breathes the film industry. It does give you a step up in a great direction and I highly recommend it!

Excellent book!!! A must read for anyone looking to get there screenplay into Hollywood. The entertainment business is tough but Paul Sinor makes it a lot easier and a lot more manageable with his new book. It covers everything you could possibly think of, from the role agents, managers and attorneys play to finding the right production company and negotiating a contract. The best part is, you don't have to live in Hollywood to get someone to read your screenplay. There's an entire chapter on what to do if you don't live in Hollywood. If you are serious about writing screenplays and breaking into the entertainment industry then this book is definitely for you!!

I am a screenwriter for over 10 years and recently I've just bought this easy download e-book "B$ Your Script Sale". Every single tip that Sinor mentions in the book is valuable! They are true to life tactics that I think every screenwriter in town should know to get the best deal out of their script sale. How I wish I have the book 10 years ago! Nice page design and layout as well. It makes the whole reading experience more fun and interesting!!! Two thumbs up!!