Video Books

This was a fantastic resource. I have never really played video games until my wife bought me this Xbox 360. I didn't know all the ins and outs so I bought this book. It has been truly helpful in finding the many things i can do, plus it has some valuable web links for some extra stuff that really works.

I love this book -- everything is well explained. It also explains the concepts in an easy to understand style for parents who are not too game savvy.

Only problem though is that the book is too US centric -- the Xbox 360 is sold all over the world with slightly different specifications, and this book just ignores everything except the US Xbox 360.

If you want to know your Xbox 360 really well then this books for you, it covers everything about the system and the hardware that can be added later on. The book even covers Xbox Live and also some games. you will not be sorry if you purchase this book, it is a perfect addition to anyones home library.

Hi... I'm not a gamer, but I have one in my household. I can't tell you how many game consoles we've purchased over the last 20 years, but I don't think we've missed very many. I'm a bit surprised I haven't gotten the hard-sell from "da kid" on getting an Xbox 360 yet. But after reading Xbox 360 for Dummies by Brian Johnson and Duncan Mackenzie, I'm somewhat tempted to get one anyway for myself... :)

Contents:
Part 1 - Xbox 360 Out of the Box: Meet the Xbox 360; Setting Up Your Xbox 360
Part 2 - The Xbox 360 Blades: Dealing with the Dashboard; The Live Blade; The Media Blade; The System Blade; The Games Blade
Part 3 - Xbox 360 in Your Entertainment System: HDTV, EDTV, Plain Old TV; Getting the Best Audio Experience; Customizing Your Console
Part 4 - Pushing the Outer Limits: Parental Control; LAN Parties; Windows Media Center Extender
Part 5 - The Part of Tens: Ten Great Web Sites; More Than Ten Great Games; Ten Tips for Parents; Ten Ways to Make Friends; Ten Great Accessories; Original Xbox Games; Index

Xbox has definitely crossed the line from being a gaming console with extra features to being a multimedia computer that happens to play games really well. Johnson and Mackenzie do a very good job of covering and demonstrating all the features of the Xbox 360, how it all meshes together, and how to get the most out of the platform. This includes everything from, of course, playing games, to making the device the central point of a multimedia setup for your home. The Xbox 360 integrates with Windows Media Center, so you can use it to watch TV, record shows, play music, etc. In fact, it's very possible to buy an Xbox 360 and never even play a game on it. :) Add in network connectivity, and now you can reach out to others as part of Xbox Live. The capabilities are truly impressive, and this book is an excellent way to delve into those areas that you may not have yet uncovered.

Granted, most 12 year olds will probably have most of this figured out an hour after opening the box, all without reading the directions. Yes, and my DVD player still flashes 12:00. At least it's not a VCR any more. But a book like this will appeal to those of us who are interested in the latest and greatest, but want a little structure and guidance added to our exploration.

Now to keep this book out of my kid's hands...

Not a bad book, although it is more written for someone with little to know computer/gaming experience.

My newly discovered hobby is tucking this book under my arm, stuffed with an array of bookmarks, old business cards and straw wrappers -- to help seek out these cinematic gems when I enter my video store. Author DiLeo has unearthed a wealth of fantastic performances in films that I never would've thought to view or even knew existed! I actually called in sick to work one day after viewing three of his recommended classics back-to-back till the wee hours. What a glorious night! Mr. DiLeo... you're gonna cost me my job! BUY THIS BOOK!

John DiLeo's opinions and quips are quick, tart, and fun. But this book wouldn't be as fascinating if that was all that was going on. The depth of his film knowledge, his obvious love of movies, and the acuteness of his recommendations make this a wonderful book for anyone--from cinemaniac to cultural reader.

My newly discovered hobby is tucking this book under my arm, stuffed with an array of bookmarks, old business cards and straw wrappers -- to help seek out these cinematic gems when I enter my video store. Author DiLeo has unearthed a wealth of fantastic performances in films that I never would've thought to view or even knew existed! I actually called in sick to work one day after viewing three of his recommended classics back-to-back till the wee hours. What a glorious night! Mr. DiLeo... you're gonna cost me my job! BUY THIS BOOK!

Anyone who loves watching classic movies should buy this book! The author gives thorough reviews of all one hundred movies. He doesn't focus on just one genre and there is a good mix of comedic, dramatic, and musical performances. Some of my favorite performances are here including Jeanette MacDonald in Naught Marietta, Vivien Leigh in Waterloo Bridge, and William Powell in Libeled Lady. After reading this book there are many more films I want to see.

Overlooked performances from the movie stars of old or the present crop, take your pick. Whichever you prefer make sure you read John DiLeo's book. He captures the performances in such a way that you feel you are watching the film while reading his eloquent, captivating description. It is an absolute joy for any movie buff.

This book is a 7 course meal for the eyes and mind! You will love the photographs of the rare Oz treasures, which are organized by decade.

This book is one of my favorite Oz reference books! John Fricke is truly the leading Oz expert!!

With Willard Carroll's Oz collection as a backdrop, John Fricke has cataloged the fabric of Frank Baum's stories of Oz. I am certain that Frank Baum could not have been aware this fabric would become a great tapestry upon which the world could identify what it meant to be human. Oz has permeated our society with its influence. It is found in our languages, our politics, human behavior, and is probably used more often as a simile than any other imagery in our language.

From the opening pages of this book to the last, the book is a compelling journey through Oz. The collection of Mr. Carroll's Oz memorabilia is so large that it is like trying to comprehend the distance between stars or that a few people actually have a billion dollars. This colligation of Oz collectibles somehow unites every civilization, geographic location, and human condition. It is one of the few things that have true universality.

After reading John Fricke's take on Oz, of course, based on Willard Carroll's collection, I am left wondering how history would be different were it not for Frank Baum's Oz?

The pictures are glorious, the layout intelligent and thoughtful-I will never see Oz in quite the same way again. John Fricke's writing is stellar. Willard Carroll's collection ---what can I say, WOW! 100 years of Oz is entertaining, educative and provides a new look at Frank Baum's Oz through the other end of the spyglass. This is a visit to a museum with a very knowledgeable guide through an unforgettable exhibit. Thanks for the tour. I'll be back again.

This book is a must for all collectors.

"100 Years of Oz" is a delight for everyone who has ever fallen in love with "The Wizard of Oz" (which includes just about everyone.) The success of the book lays in John Fricke's capabilities as a writer. His words are consise, thoughtful, and honest. The photographs, likewise, catch the eye like flashes of brilliant light. It is not easy to take one of America's most chershed series of books, its favorite film, and 100 years of mechandising and condense it all into one volume. Thankfully, Mr. Fricke has done that- impeccably. Buy this book today. I highly recommend it to everyone as an example of first class research. Above all, it is a time capsule of memories. Fricke will long be heralded as "Oz"'s best friend. Congratulations to all who made this book such a beautiful addition to my library.

Lions and tigers an bears? Oh my! Add Munchkins and Winged Monkeys and a Horse of a Different Color to the list. This is Oz Country, and things simply don't get better than this. To celebrate the centennial of the publication of L. Frank Baum's novel (and the 60th anniversary of the classic MGM flick), preeminent Oz historian John Fricke has written a glorious homage of all things fun and fantastical. Not only does the book offer a fascinating chronicle of the Ozian phenomenon, but the illustrations, culled from Willard Carroll's priceless collection of more than 10,000 museum-quality pieces, are breathtaking. Oh Auntie Em, there's no place like home . . . provided you're snuggled up in front a fire with this gem.

When I first saw this book years ago on "the Inernational Wizard of Oz Club", I wasn't really keen to get it (I guess the front cover looked a little too dull for me), but after seeing it in a bookstore and actually looking through it, I then knew I had to get this book, because (unlike the small "All Things Oz" collection), this book includes things OTHER than Baum's Book and MGM's Wizard, such as an unknown song from the 1904 Musical (not mentioned in "Oz: Before the Rainbow"), the Silent Films, 'Journey Back to Oz', 'The Wiz', both the Rankin Bass & Disney versions of 'Return to Oz', the 4 1987 CANADIAN-Animated Cinar Films (YES!! The mystery of their animation origin is written here!!), "the Wizard of Oz - Animated Series", "Oz Kids", the Asian "Space Adventures of Oz" TV series, "On Ice" Productions . . . it not only has all of this but also INCLUDES the most important and best of all, "The Dreamer of Oz"!! other language editions of the Oz books, and we also get a few 'Baum's Non-Oz' stuff, like his "Last Egyptian" Film and "Queen Zixi of Ix" book (plus a "Denslow's Picture Books for Children",) games/items/figurines, a few design sketches for MGM's Oz props/Emerald City and lots of other things that have to do with 'Oz' too - even though we don't get like 1-full page on info on every particular item, we still get some good information and lots of pictures too. Just like "All Things Oz", this book has lots of written information, pictures in the background/inserts and quotes from "the Wonderful Wizard of Oz" (and I'm glad to say that it doesn't have so many mistakes as "All Things Oz" does). But we also get a glimpse at some not-so pleasant Oz stuff, like the "Oz Comics for Adults" and a horrific Winged Monkey Creature Features model.
The Chapters of this book go by 10 Years (e.g. 1900's, 1910's, 1930's, 1940's, 1980's, 1990's, 2000's, etc.).
This was a pleasant surprise to find on a bookshelf (along with many other Oz books) and it was an absolute pleasure for me to buy it.
Also, what you see is a slip-on cover. The actual front cover is (an Italian poster of MGM's) Dorothy looking at the Crystal Ball and seeing the Wicked Witch of the West flying on her broomstick.
Trust me, get this book, and you'll love it - maybe even more than "All Things Oz"!

a great book to review past Academy Award winners and nominees
i really enjoyed the notes from previous award winners and their thoughts on receiving the award
i have given this as a gift to fellow movie lovers and it is a big hit
has also helped me in a few movie trivia contests too!!

This is a must-have of any film buff and is the most comprehen-
sive book of its kind that I have seen.

This book is not a history in the since of most history books. It does not detail how the academy began, or how it changed over the years, or give you any kind of insider view of its workings. Instead, it is a complete listing of every nominee and every winner in every category since the award ceremony's inception in 1927. There are plenty of photographs of the nominees and images of scenes from the nominated films for each year, so it is not dry in the way many reference books are. In fact, Mr. Osborne's love of film and its history really shine through in the book. It is interesting to look through this book and see what we consider to be films that have withstood the test of time versus which ones were rewarded by the academy at the time. For example, in 1939, the Academy did recognize that "Gone with the Wind" was the best picture of the year, which people were lining up to watch in movie theaters until its television broadcast premiere in 1976. However, in 1941, "How Green was My Valley" won best picture, which is a film that hardly anyone watches anymore, while "Citizen Kane" was completely ignored. It's also interesting to see how the Academy compensated for past oversights by awarding performances that were less than stellar in subsequent years. For instance, in 1934 Bette Davis was overlooked in her performance in "Of Human Bondage". This caused a huge public outcry. The following year the Academy gave her the best actress award for her performance in "Dangerous"- a move that has largely been seen over the years as a consolation prize for what happened the year before.
This book is full of little insights such as these, and it is a fun book that gives hours of entertainment for film history buffs. I bought my first copy of this history by Mr. Osborne back in 1987 when he was then detailing the 60 years of the Oscar, and I enjoyed it so much I have been updating my copy every time he releases a new edition. Highly recommended.

Over the years, I have picked up a few books about the Academy Awards. I did so primarily to get a list of winners but I have also been interested in knowing the nominees. In the early days of the award it wasn't unusual to have eight or nine nominees for a particular award. However, the inference was still that there was something special about this particular movie in regards to this particular awards. I like that "75 Years of the Oscar" lists not only each award winner but each award nominee as well. I espcially appreciate the listing of all nominees for the Best Foreign Language award. I hadn't come across that before in any of the books I'd found.

"75 Years of the Oscar" makes for a large tome and I did have to send back the first edition of the book that I received due to weak binding for a book this size. The book provides an overview of each individual year as well as each decade of the award. Over the years the Academy Awards have over-rated some turkeys and ignored some movies now considered classics. The Academy has had a tendency, over the years, to focus on five to eight movies a year for 95% of all nominees. It certainly seems that it is a popularity contest more than an artistic examination. However, it's still a fairly reliable source for finding good movies of the past and that's what I use it for.

This book is chock full of facts about everything to do with the Academy and it's evolving from nothing to what it is today. It tells how and who started it, and how the different categories for Oscars were added as the years went by. The first 2 chapters or so overwhelm you with dry details which make it tedious reading; at least that is how I felt about it.
The rest of the book's chapters go year by year telling you all the nominations and winners of Oscars in all the different categories, and show you dozens of good pictures of the stars. You can also read the acceptance speeches given in the book by the stars that won Academy Awards.
There also is a section that lists the names of all the stars that have won 2 or more Academy Awards. This is what I really liked. This is what I bought the book for.
It is a huge book to read, so just take your time and read a little bit at a time.
I'm glad I bought it because I am a movie fan and have learned from it; and can always refer back to it when I want to find something out.

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.

We use this all of the time. It has recipes that you can actually prepare and they really taste good.

My husband bought this for me for Christmas. Since then I have bought several for gifts to friends from the old cowboy movie era. What a hit!

I just love this cookbook! It has great recipes with directions that are easy to follow. Only trouble is I enjoy reading all the stories and comments so much that I forget I'm looking for something good to cook up!
I'm ordering 2 more as gifts for my trail riding buddies!

I absolutely LOVED this book. I'm a big fan of Gene Autry and Roy Rogers, and was delighted to see pictures of them in there, and actual recipes from the real people! Not only are the recipes real cowboy food, but the facts, trivia, and other neat stuff in the book is just as much part of the book as the recipes! The sections are labeled in a very western-y style: Appetizers are "The Frontier", Beverages are "Watering Hole", Soups and stews are "Stir-ups", and so on.
There's a whole section on chili, one of my favorite foods! I was very excited to find "Gene Autry's Texas Chili", and several from Roy Rogers too. There's recipes from all the greatest cowboys in there; from TV stars to rodeo champions, to just ranches who still love the American cowboy and his great food. There's a recipe from the show Gunsmoke, called "Gun-smokin' Chili", which I thought was really neat! The desserts are great as well (just like everything else in the book!). From pies to cakes to cookies and ice cream, it's got it all! I really love cowboys, and I am a cowgirl myself. I have my own horse, and wear a cowboy hat, boots, a leather belt and a big belt buckle with a horse on it every day. This All American Cowboy Cookbook really hit the spot! I can't wait to show it to my friend, who is also a cowgirl.

I purchased this cookbook for a friend who is a chef and a old T.V. show buff. He loved it. The receipes are fun and a few even caught his eye, but the book is worth the trivia even if you don't cook.

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.

As an actor who is very comfortable on stage, I've always been surprised by my difficulties in front of the camera. This book not only identified what I was doing wrong but has given me very helpful and practical ideas about how to work in the medium of film. What a great find!

Loved this book! The author's writing style is easy to understand. A lot of the book is an actual script of what happened in his class - the students dialog and his (the teacher). The students read scripts with each other and he instructs/helps them improve their acting. Highly recommended for the beginning actor!

Jeremiah's ability to convey such a clean and concise approach to film acting is endlessly refreshing, especially to the working actor overhwhelmed by the endless masses of techniques and methods out there. He strips acting down to its very essence and truth through his emphasis on being in the moment and on developing ones skills of observation and listening. His simple wisdom reminds us of what we already know-- what we knew as children and chose to forget-- the endless wonder of a human face, the natural expression of unjudged emotion, how to live openly in the present without expectation, to trust unwaveringly in the given circumstances. Truly a great work and one every actor, director, artist or film enthusiast should have. I will read this book again and again and I do not doubt that one day it will be a staple in any serious actor's collection. Excellent.

Jeremiah has an honest approach when presenting this book. It is very useful, and a definite book to have on your shelf. I have found myself unable to put it down. I would recommend this book for any type of actor wanting to understand and practice his craft too the best of his ability.

In "The Art Of Film Acting: A Guide For Actors And Directors", Jeremiah Comey draws upon his more than 25 years of experience and expertise in teaching film acting (include the several years in Hollywood he spent acting in feature films, television sitcoms, soap operas, industrial films, and commercials, as well as directed several short films) to provide a definitive instructional manual for training performers to act from their core -- whether they are doing a cold read, auditioning, or performing. Aspiring actors will learn how to manifest honest and believable emotions before the camera, relate to other actors and the their circumstances as those cameras roll. Enhanced throughout with exercises and script examples, students of acting are provided with an easily accessible resources designed for practicing the outlined principles as they pursue a mastery of their craft. Practical, "user friendly", informed and informative, "Guide To Naturalization Records Of The United States" is a core addition to any personal, professional, or academic Theatrical Studies resource and reference collection.

This textbook was purchased to fulfill a required "humanaties" course, while attending college. It's informative, easy to read, and guides you into becoming a "trained observer" in the art of watching films. As part of the curriculum I was instructed to watch several films selected by my professor. Some of the assigned films I would have never viewed by choice, including classics. However, this textbook has definitely given me a whole new perspective when attending a movie theater or at home watching a DVD. I've also acquired a deeper appreciation and understanding for all the hard work that goes into film making. Buy it for school or as a guide to help you enjoy your next movie experience.

product was exactly how seller describe. the book gives great insight to understanding all the components and theatrical elements of a film. Every element in a film is purposely selected in order to catch the audience attention and emotions. Highly recommend this book.

Used this book in an intro to film class. I will keep it on the shelf as a reference book. For class it has smooth reading that is cohesive, didn't seem like it has filler information in it. It was fun to read. The context was very helpful in class for lectures, and movie analyzation. Goes over key aspects of film as well as very detailed examples of what to look for, how to see it.

This book was a required text for a film class I took. It is very well done and the price was less than if I had purchased it at the college bookstore.

This may come as no surprise but I only bought this book for a college class. It turns out that it was a great class. The book isn't nearly as dry as I expected but still, it is a text book. I took the class at the University of Phoenix just to fill some elective credits. Turns out the class was great and the instructor was too. The book was good for a text book and the service from Amazon was well above anything you'll get from a uiversity shop or even most online retailers. If you have to get the book I suggest getting it at Amazon. :)