Arts and Culture Books

Read this book some 20 years ago. Found it rare among this series in that -- A), it was at times critical of both Cooper and some of his films; and B), it was filled with both positive and negatives from critics at the time of each film's release. As I said, rare for this series. Recently went to purchase it for a friend, and found out it is unavavilable? Why!?!

I bought the"Films of Gary Cooper" some 30 years ago and still enjoy reading it. However, I find that Mr. Dickens underrated, at least in my eyes and more recent reviews, two of his finest films. Those are "Man of the West" and "They came to Cordura". Whereas, Mr. Dickens thought they should be relegated to that movie boneyard in the sky more recent consideration and mine too, consider them to be very good films.

Aside from this, I highly recommend this book. I would not part with my copy. It is, in most respects, a very good review of Gary Cooper's movies.

Read this book some 20 years ago. Found it rare among this series in that -- A), it was at times critical of both Cooper and some of his films; and B), it was filled with both positive and negatives from critics at the time of each film's release. As I said, rare for this series. Recently went to purchase it for a friend, and found out it is unavavilable? Why!?!

I bought this book in the fall of 1975 and after nearly 25 years, still find it hard to put down once I pick it up.

Writing a screenplay requires understanding specific formatting rules, especially if you intend to try and have that screenplay sold or produced. I have just ventured into writing screenplays and this book certainly helps answer a lot of basic questions of formatting. Beyond the basics, it also gives advanced and varied options to communicate ideas. The use of examples is very helpful. At the end, common errors are reviewed and corrected in various ways. It is a book that helps you use the format to most effectively communicate your ideas. Certainly good to have has a reference once you get acclimated to the structure.

This book is definitely the best screenwriting manual on the market, and anyone who dreams -- even in their wildest imagination -- that they might someday want to write a screenplay must have this book. It should also be part of the reference library for anybody who is currently in the script writing business.

I recommend this as a reference for anyone who wants to find answers quickly. I have several screenplay formatting books and this one is definitely one of my faves. I don't think that any one book is the be-all-and-end -all guide to writing screenplays, but this is a must have for you collection. It allows you to reference information without searching for hours and having to read all of the preceeding information.

I was in the process of writting a script and had lots of questions on the Hollywood format, almost all were answer by this excelent book.

Do not look in here for dramatical structure, this you need to look for somewere else.

This is one of the few books that I have laughed out loud until tears streamed down my face!!! When trying to share the funniest entries, I can't even read them without laughing again. From analyzing the famous "Yeti on the lou" Pertwee phrase to including a table of contents containing only the letters of the alphabet, this is humor and wit at its best. I have never found a funnier Doctor Who book and I am hard pressed to name a funnier novel in general. If you do not have this book you don't know what you're missing!!! A++++

This book is an incredible collection of phrases and Whoisms that have appeared throughout Doctor Who's many years on the air. The authors have managed to poke fun at the good Doctor while assuring the reader that they're really on our side. It's a lot like making fun of your family - only another family memeber can get away with it. If you're not family, watch out! From "AAH" to "ZORG AND ORG," it's all there - every last tasty fun morsel that makes Doctor Who a worldwide institution.

This text is the funniest book I have ever read... Poking fun at not only Doctor Who, but the fandom of Doctor Who, this book is a laugh-riot from the introductory debate over stories' names, to the final index page which lists simply the letters of the alphabet and the Dedication to Godzilla. My favorite parts: the description of Season Eighteen as an "amusing omission from The Doctors: Thirty Years of Time Travel" and the description of Lazar's Disease as a syndrome whose main symptom is removing one's clothing... Lyons & Howarth are to be commended for such a devistatingly funny work.

Hilarious & irreverent, the useless encyclopedia looks unflinchingly at the schitzophrenic british fan base, the shoddy "classic" episodes, the ludicrous "new adventures", and just about everything and anything "Who" and useless. Written by fans for fans.

Arts/Entertainment

An Insider's Tale
Book Review by Denise Cassino

Betty Jo Tucker is in love. She always has been. From early childhood, Betty Jo has been smitten with the silver screen. Her love started as an infatuation and grew into a mature study of film and renown as a world-class movie critic.

In her book, Confessions of a Movie Addict, Betty Jo takes us through those early childhood memories of movies, covering her eyes at the scary part, acting out the roles of her favorite stars. Then she landed herself some real jobs as a film critic which gave her a pass into all of the biggest movie events from premieres to the Academy Award Presentations.

This book takes us through many of the hilarious adventures of a movie critic, from embarrassing moments to dining with the stars. Betty Jo shares with her reader many of her best and most clever interviews, sometimes with animated characters! Betty Jo also includes a plethora of reviews on dozens of movies giving the reader a critical, but fun summation of everything from box office hits to cult sleepers. This is a real insider's tale of seeking, meeting and interviewing many of the hottest movie stars ever to flash across a marquee.

If you want to know what it's like to dish and dine with the Hollywood crowd, this book will do the trick. A great gift for any movie lover, Confessions will make you green with envy at Betty Jo's inside access to the stars.

Reviewed by Jill Cozzi,

Recently I received a press release announcing a Malcolm McDowell retrospective at the Walter Reade Theatre. I forwarded it to a friend, along with a message:

"Gee, do you think I should go to this, walk up to
Malcolm McDowell and say, 'I saw A CLOCKWORK
ORANGE at my college auditorium and three weeks later
was deflowered by a guy who looked an awful lot like
you did then?'"

Now, of course I would never do such a thing, because such an occasion would reduce me to a babbling idiot. But then, I'm not Betty Jo Tucker.

If I WERE Betty Jo Tucker, however, it wouldn't even be an issue, for she would just walk up, make her confession without batting an eye, and two hours later walk away with notes from a truly killer interview. That's just the way she is.

Tucker is arguably the most unique presence among the many film critics on the Web today. In a world dominated by snarky teenagers and twenty-something self-anointed cineastes, Betty Jo Tucker is a gleeful, unabashed movie-lover; not a film buff, but someone who loves the experience of filmgoing. At seventy-plus, she retains the same joy in moving pictures projected on a screen as she did that first time she walked into the "picture show" to see FRANKENSTEIN -- in its first run. A critic who came into the business late in life after raising two children, one divorce, one remarriage (to the same husband), and a distinguished academic career, she is an anomaly among Web critics in that she does NOT subscribe to the Alice Roosevelt credo of "If you can't say something nice, come sit by me."

In her new book CONFESSIONS OF A MOVIE ADDICT (Hats Off Books), Tucker shares her infectious joy in the moviegoing experience with the rest of us. It is truly "a life story with everything but the movies edited out." Written in a breezy tone, CONFESSIONS is truly a snark-free zone. Tucker, who has set herself up as the premier lobbyist for the Return of the Movie Musical has even managed to find the good in such crap-fests as the Britney Spears vehicle CROSSROADS. She doesn't love everything put on film, but you've got to love a critic who's eligible for Social Security but can still laugh her way through the likes of the surrealistically sophomoric CABIN BOY and who reacts to the ghastly THE PRINCESS DIARIES by remembering to call her granddaughters and tell them how terrific they are just as they are.

Where CONFESSIONS OF A MOVIE ADDICT falls short is in Tucker's underestimation of our interest in the journey of a woman through academia, homemaking, and into film criticism at an age when most of us have long since given up our dreams. This may be "a life story with everything but the movies edited out", but many of us would love to see what's left on the cutting-room floor.

Whether she be recalling a mishap at an X-rated film, admitting she laughed out loud during 'Cabin Boy', or taking an imaginary film festival trip, film critic Betty Jo Tucker's novel 'Confessions of a Movie Addict' will have you envisioning her tales of a life at the movies as if she were talking directly to you. Betty Jo's stories are vivid, enthralling, and quite often amusing. Not only does it provide one wonderfully detailed story after another, Betty Jo's book comes with several of her to-the-point film reviews, a collection of celebrity interviews, a photo gallery, an index of movie-related books and websites, and a checklist to see if you indeed are a movie addict. I have read 'Confessions of a Movie Addict', and as a critic myself, I can proudly assure you that Betty Jo Tucker is one of the finest critics out there and a person who flat-out loves the movies, from the good to the bad. 'CoaMA' is an excellent slice of cinema life.

As a recently retired college professor who can go to more movies now, I was delighted by this substantive insiders tale told with such happy and light-hearted grace, candor, and humor. The sophisticate and the novice, young and old, will find Betty Jo Tucker's "show-don't-tell" approach solid, informative, and entertaining. She charmed the socks off me! Betty Jo takes us into her fascination with this dimensional art form, with her life story deftly stitched into the background. "Because confession is good for the soul," she tells us, "I admit enjoying films mostly for their escapist entertainment qualities. But I also love to be enchanted by cinematic artistry, enlightened by a great story, and inspired by memorable performances." We grow together with this unpretentions, knowledgeable professional hooked on movies as she moves from going it alone, to being mentored by the best, including the famous "UK Critic" Ian Waldron-Mangani--who, she tells us, could have been her grandson. I found "Confessions" to be a great three-in-one deal: HerStory, terrific interviews, and crisp reviews. We meet some of the greatest names in film from the U.S.--directors David Lynch and M. Night Shyamalan, Oscar winners Anjelica Huston and Angelina Jolie, and the legendary Debbie Reynolds, along with top international figures, including British actor Sir Ian Mckellen, French actress Judith Godrech, Japanese filmmaker Masayuki Suo, and Oscar-winning Czech director Jan Sverak. Stellar interviews include those with Annette Bening, Willem Dafoe, Tony Shalhoub, and Aidan Quinn. Among her top reviews are "Chocolat," "Bridget Jone's Diary," "Mouline Rouge," "Planet of the Apes," "Legally Blond," and "Scary Movie." Along the way, she tells some delightful stories on herself: great gaffs--foot in the mouth, clear to the knee, as Josh Wise, one of my former students, once wrote. After enjoying "Confessions," you'll never read a review the way you used to!

"It cannot be said too often and it's never said enough that the mass news-media have low-to-no standards of accuracy, whether in relatively minor or peripheral areas of their reporting where their interests may not be obviously at stake (except in that it's in their interest not to go to the expense of bothering to check facts, and to conceal this) or in the larger matters where their prejudices are more apparent. And, as the media leaders know, since almost all news becomes "old" the moment it's broadcast, most victims of their misrepresentations are at a disadvantage not only because of a power mismatch, but because a protester looks like a fool to be challenging yesterday's papers. But the consequences of the media's irresponsibility and maliciousness are real to their victims. Guy Debord finally had to react. A rare and nice touch is where he mentions that he actually has no higher opinion of the consumers of the media than he does of the disseminators of it. Heh heh.

The tract is full of these sudden sharp insights into Debord. It's great as well for its evocation of the whole intense time and place (Paris art/life radicalism, 1957-84)."
Richard Hell

"It cannot be said too often and it's never said enough that the mass news-media have low-to-no standards of accuracy, whether in relatively minor or peripheral areas of their reporting where their interests may not be obviously at stake (except in that it's in their interest not to go to the expense of bothering to check facts, and to conceal this) or in the larger matters where their prejudices are more apparent. And, as the media leaders know, since almost all news becomes "old" the moment it's broadcast, most victims of their misrepresentations are at a disadvantage not only because of a power mismatch, but because a protester looks like a fool to be challenging yesterday's papers. But the consequences of the media's irresponsibility and maliciousness are real to their victims. Guy Debord finally had to react. A rare and nice touch is where he mentions that he actually has no higher opinion of the consumers of the media than he does of the disseminators of it. Heh heh.

The tract is full of these sudden sharp insights into Debord. It's great as well for its evocation of the whole intense time and place (Paris art/life radicalism, 1957-84)."
Richard Hell

The very name Guy Debord conjures with it a multitude of images, from Situationist radical to drunken intellectual, capitalist critic to avant-garde filmmaker. This multitude of images, which are themselves caught up in a mechanism of fantasy--for the one who speaks the name "Guy Debord" in turn conjures the very fabrication of that person-is the very subject of his Considerations on the Assassination of Gérard Lebovici. A recent and thoroughly welcomed translation and publication by TamTam Books (an independent publisher in Los Angeles whose growing catalogue is sure to entice and thrill the eager readers of idiosyncratic French literature) of this later writing of Debord's is a testament to both the ongoing "image" of Debord as cultural critic, as well as a strangely touching portrait of a man on the absolute fringe of the culture he in so many ways enables us to see.

The book is essentially an analysis of the surrounding media coverage on the mysterious death in 1984 of one of France's biggest film producers, Gérard Lebovici of whom Debord was close friends. The mysterious death--or assassination--of Lebovici subsequently is depicted in numerous French magazines and newspapers as being inextricably linked to the producers "association" with the "notorious" Debord. Equating the death with Debord was brought to such a high-pitched fervor as to render Debord a specter of death itself, as if any contact with such a fringe element would leave an indelible mark on one's being. As Le Journal du Dimanche announces: "Behind the most hidden face of Gérard Lebovici, there is always Guy Debord." There, Debord lurks, as a force of extreme criminality, a kind of black magic through which death could be administered without a trace.

In his Considerations Debord essentially sets the stage for a conversation between the media's rampant output of untruths about his person and himself, as holder of truth, for who would know himself better? Dissecting each article, highlighting and deconstructing paragraphs and sentences by a plethora of journalists, what Debord ultimately enacts is a further analysis of the Society of The Spectacle--by showing the machinery of media as a player in the output of the spectacle itself, which for Debord has no grounding in finding truth, or in representing facts, but rather functions as an implicit wielder of the spectacle itself. As Robert Greene eloquently points out in his introduction to the book, Debord's determination to actually remain aloof--a non-celebrity to a culture that desires and creates celebrities for its own amusement, as a perpetuation of the spectacular--ultimately marks Debord as "sinister", a culprit of uncertain powers. For obviously someone so aloof must have something to hide. Psychologizing Debord, the media in effect treat him as an object for its own play, replacing the actual death of an individual and the process of investigation with the heightened reportage of tabloid gossip. In this way, the media finds Debord everywhere, a lingering and ghostly figure looming over not only Lebovici but an entire network of terrorist organizations, mobs and secret societies--Debord as The Devil himself. Yet Debord counters: "The simple truth, however, perhaps more painful for the amateurs or the barons of the present social spectacle, is that in all my life I have never appeared anywhere." It's this "having never appeared" which Debord reluctantly overcomes in writing Considerations--to once again show that reality is a political arena in which language signifies more than itself. As one paper quoted from Debord's past writings: "In reality one never contests the existence of an organization without contesting all of the forms of language that belong to this organization."

Brandon LaBelle, Contemporary Summer 2002

"It cannot be said too often and it's never said enough that the mass news-media have low-to-no standards of accuracy, whether in relatively minor or peripheral areas of their reporting where their interests may not be obviously at stake (except in that it's in their interest not to go to the expense of bothering to check facts, and to conceal this) or in the larger matters where their prejudices are more apparent. And, as the media leaders know, since almost all news becomes "old" the moment it's broadcast, most victims of their misrepresentations are at a disadvantage not only because of a power mismatch, but because a protester looks like a fool to be challenging yesterday's papers. But the consequences of the media's irresponsibility and maliciousness are real to their victims. Guy Debord finally had to react. A rare and nice touch is where he mentions that he actually has no higher opinion of the consumers of the media than he does of the disseminators of it. Heh heh.

The tract is full of these sudden sharp insights into Debord. It's great as well for its evocation of the whole intense time and place (Paris art/life radicalism, 1957-84)."
Richard Hell

I had to buy this book for a class I am taking, and it has proven very helpful and useful.

John Huntington's book is the THE reference tool in our lighting shop for show control. It has everything you need for the different control languages, in clear and concise formats.It is a must on every theatre technician's bookshelf

John Huntington's new book, Control Systems for Live Entertainment, is one of the most useful and informative books available for anyone interested in theatre technology. The book covers such technologies as MIDI, DMX512, MediaLink, MIDI Show Control, and others.

A well dog-eared copy of the first edition has been in my tool kit / computer kit for the last couple of years. I have found it a valuable resource. It has helped me on-site more than once. The second edition is more comprehensive and organized. Kudos to John in publishing a great resource fit for the student and experienced professional.

George Tucker- Show Control Engineer- Scharff Wesiberg NYC

I've always suspected that writers would be the most interesting of all functionaries in the movies, as they're the ones who think it all up in the first place, and this book proves me right. Fascinating, probing glimpses into the hearts and minds of a marvelous collection of writers. Just buy the damn thing.

A marvelous book for writers-- I ordered copies as Christmas presents for all of my writing students.

OK, I'm prejudiced. I read many of these interviews in the versions that were published in the Writers Guild of America's magazine and thought they were terrific. I called up my editor at Heinemann and told her that she should get in touch with Susan Katz and collect them into a book. My editor (who is obviously quite smart) did and it makes a swell book indeed. Katz is a screenwriter talking to screenwriters about writing; she asks questions from the perspective of an insider and gets real answers as opposed to the surfacey stuff you tend to get in shorter newspaper interviews. My favorite? Probably the slightly testy interview with Mike Leigh talking about how he used improvisational input from his cast in creating SECRETS AND LIES. (But then, I'm particularly interested in improv used for writing.) There isn't an ounce of fat in this book. Smart, useful stuff.

This is a collection of interviews with famous screenwriters, such as David Mamet, Tom Stoppard, Callie Khouri, Horton Foote, Anthony Minghella, etc. If you want to really feel as though you, yourself, have had a wonderful conversation with these infamous screenwriters, this is the book for you. Ms. Bullington Katz has an extraordinary talent for asking just the right questions and truly listening to the answers, and I have never read such compelling, engrossing interviews in any book before. I highly recommend this book to anyone who loves books, writing, movies, tv, and/or just reading a terrifically well written book! I can't wait until she has another book coming out!

this was in great condition and my daughter loved it would work with this seller again

First of all, my favorite person EVER is Corbin Bleu. I mean,he has mad skills! This book is my favorite! When I was on his website, I realized that Corbin Bleu: Up Close, had come out without me knowing. I had been waiting FOREVER to buy this book! I rated it a 5. Do the same. Corbin loves us all.

If you haven't heard of Corbin Bleu, I'm guessing you're either older than 132, or you've been living in a cave high up in the Rocky Mountains, where satellite reception isn't all that great. For those few human beings who don't know who Corbin is, I recommend picking up a copy of CORBIN BLEU: UP CLOSE, which will give you all the pertinent facts.

I first saw Corbin, a 17-year old actor, on the Discovery Kids show Flight 29 Down, Vol. 1. Although I didn't follow the show every week, I was always impressed by the acting and storyline. In a nutshell, it's a lot like the television show Lost - The Complete First Season, but for the teen and pre-teen set. Not long after that, though, I saw Corbin in High School Musical (Encore Edition), which, without a doubt, is one of my favorite movies.

What I didn't know about Corbin, though, was that I'd also seen him in a number of big-screen movies, without even knowing it! Corbin had parts in Mystery Men, Galaxy Quest, and Catch That Kid, all of which I've seen. In the case of Galaxy Quest, I've probably seen it way too many times!

Whether a die-hard Corbin fan or someone who is just discovering this talented teen actor for the first time, CORBIN BLEU: UP CLOSE is a great resource. Filled with pictures from Corbin's family photo album, shots from the different television and movie sets he's been on, and candid snapshots, you'll be happy to see how this actor has grown. The book also contains a rather detailed biography, how Corbin started out in modeling and commercials, and about his shift to television and movie acting.

If you're interested in learning more about this very talented actor, you won't go wrong by picking up a copy of this reference guide. We also get a peek into Corbin's upcoming projects, which include High School Musical 2, the Disney Channel original movie Jump In!, a music CD, and college.

Reviewed by: Jennifer Wardrip, aka "The Genius"

I love this book i learned so much about him and the pictures are nice to .

Twenty-five years ago The New Criterion set out to challenge the orthodoxies current among the gibbering classes. Counterpoints is a collection of the journal's choicest essays and reviews dedicated to that end.

Fifty years from now this volume will be read as an indispensable primary source for the cultural history of our times. My hope is that some future historian will compile a companion volume of the most drivelsome reviews and essays published in the leading orthodox organs of the same period. To be done properly, this companion work would have to stretch back at least far enough to incorporates such forgotten capi di lavoro as The Greening of America, since the imbecilities of the last twenty-five years evolved well before The New Criterion began its work.

The editor of the proposed compilation will have to burrow laboriously into a huge midden heap of discarded intellectual trash. Happily we can dispense with such grimy and sordid sifting. This collection provides a more than adequate overview of the cultural pathologies of our times, and does so elegantly. There is not one awkward or obscure sentence in its 484 pages, and a good many gems of critical panache and wit.

Its most satisfying feature is the way it combines demolition and affirmation.

The New Criterion is the most highbrow of conservative publications and one of the most intellectually rewarding and in these pages only the best of their best is on display; for the mind this is an inspiring feast. A myriad of themes are developed but the one most ubiquitous is that western civilization is in serious decline and it is impossible to know how much further it will deteriorate. In 2007, the radicals are no longer at the gates; they have melted them down and turned them into loud speakers. They have tainted the west's intellectual inheritance with one of their many interlocking isms, and the young have been persuaded that war, slavery, and dehumanization are our main cultural achievements.

It is here, upon a blistering and torrid battlefield, that The New Criterion asserts itself. Their purpose is in keeping the immortal words of George Santayana that "the best men in all ages keep classic traditions alive." A standard motif of every issue is to rehabilitate verboten cerebrals or those who do not fit into the sound byte parameters of our society. This volume resurrects a great many figures. The title of a composition by Brooke Allen asks "Who Was Simon Raven?" but readers will no cause to echo her after once they are finished. The same can be said of other unfashionable personages like John Buchan, Leigh Fermor, Milton Avery, F.R. Leavis, and Donald Francis Tovey.

Every person and idea that the journal places into our consciousness acts as a partial antidote to the neurotoxin of political correctness, and builds an infrastructure upon which we can better understand our world. Nowadays, unfortunately, truth exists almost entirely outside the purview of the race, class, and sex Commissars infesting our universities.The New Criterion does more than commemorate and enshrine. It also counterattacks which it does in an entertaining and lethal fashion. Its artful and erudite tone does not diminish its impact. This should not surprise us as Evander Holyfield also fought like a gentleman, but woe to the fool who stepped into one of his combinations.

In these days of insane educational inflation, the most important question to ask in regards to this book is how many college courses is it worth? Five? Ten? Fifteen? I guess the answer depends on the particular university and how "engaged" their professors happen to be. When the search for truth has been abandoned and truth itself has been demoted to one of many competing "perspectives," the fruit of this journal is one of the few ways in which the young can discern veritas.

COUNTERPOINTS: The New Criterion celebrates its 25th anniversary with this collection of essays by some of the most influential critics in the English language.
The mere fact that a conservative journal of cultural criticism not only survives but thrives after 25 years should earn The New Criterion first place in the pantheon of great achievements. After all, TS Eliot's Criterion survived only 17 years in a much friendlier cultural milieu. Separating beauty from dross, right from wrong, good from evil has been the forte of TNC. This is not an easy accomplishment in a culture where "anything goes".
The monthly arrival of the journal brings anticipation, excitement, and obligation. It is not possible to read these articles without a sense that something has been amiss in one's education. Regular readers know the responsibility felt after a new edition introduces them to authors and artists and controversies which, if not unknown to the reader, were at least unappreciated. Thus the obligation...to read more, to learn more and thus savor life more fully.
Above all, this sort of criticism requires judgement...a philosophy that some things are indeed better than others and it is the former that should be promoted and the latter identified and decried. The contributors are the kind of people with whom one would want to share a glass of port: Mark Steyn, Robert Bork, David Pryce Jones, Roger Scruton, Heather MacDonald. Joseph Epstein, Theodore Dalrymple, Gertrude Himmelfarb. The best and the brightest of our time. Hilton Kramer and Roger Kimball are to be congratulated for their editorship of this excellent journal. And all of us should buy this book, pull a chair up to the fire, and sip that port.

The New Criterion, Hilton Kramer and Roger Kimball's journal of culture and the arts, is celebrating its 25th anniversary this year. To commemorate the occasion, Kramer and Kimball have put out a new anthology of essays from the magazine, Counterpoints. This is not a work of poetry, but in fulfilling Horace's dictum it is both delightful and instructive.

The aim of The New Criterion, the editors tell us in their short introduction, paraphrasing Eliot, is to "foster common concern for the highest standards of both thought and expression" and to "discharge `our common responsibility...to preserve our common culture uncontaminated by political influences.'" In an era when Western culture is constantly under attack from within by relativists and from without by recidivists, and art has descended to little more than political propaganda by other means, this mission is more important than ever. The essays chosen for inclusion in this volume distill TNC's work splendidly.

Most of the great political issues of the past quarter century are discussed in Counterpoints. Are you concerned about Islamic jihadists? Read Mark Steyn on demography and David Fromkin on Turkey. Has immigration got your goat? Roger Scruton examines Enoch Powell, the British politician whose career was lost when he riled up an early PC mob. Care to revisit the Cold War? Roger Kimball and David Prcye-Jones discuss the gulag and the West's useful idiots, respectively. Keith Windschuttle battles anti-Americanism by exposing the hypocrisy of Noam Chomsky and Mordecai Richler shows us the rest of the world's warts with Mark Twain's The Innocents Abroad. The academic left is excoriated in Heather Mac Donald's examination of the Smithsonian institution and James Franklin's essay on scientific irrationalism, while Robert Bork decries the judicial power-grab in this country. And there's more.

Much more than just politics is discussed, however. The New Criterion's culture warriors also do battle on the artistic plains. The poetry of Frost, Eliot, and the New York School is considered, as well as the criticism of Yvor Winters and F.R. Leavis. The writing of Simon Raven, Paul Valery and Lord Acton is lauded while Ralph Waldo Emerson and French writer Michel Houellebecq come in for some harsh treatment. There are essays on art (though not as many as you might expect from a New Criterion anthology), music, the theater, dance, and even architecture. Theodore Dalrymple's examination of Dr. Jekyll and Mr. Hyde and its possible effect on our society is a particular pleasure.

I found this collection enormously edifying, and the only very small quibble I might make is that none of James Bowman's excellent media criticism or Jay Nordlinger's writing on music found its way into the volume. Still, Counterpoints has a little something for everyone. It can be enjoyed in its entirety or taken off the bookshelf to lightly read an essay or two. Recommended.

From the first page to the last you will feel like a kid again .The silent posters gave me a chance to see the stars who stared in early westerns.Then it goes into early talkies.What a sight young GARY COOPER in his first western.Then it goes into the era that i saw on tv .HOPPY,JOHN WAYNE,GENE AUTRY,and others.And covering JIMMY STEWART, GREGORY PECK. To CLINT EASTWOOD and KEVIN COSNER.Each photo 100% quality.Made me go through the basement at my parents house to see if i could find my GUNSMOKE holster and gun, or my RIFLEMAN rifle i had as a kid. At least i found RIO GRAND on DVD .Dont miss this book

Much as we loved watching those black-and-white movies, the colorful posters that drew us to the boxoffice were even more appealing. You'll treasure this collection of superb reproductions.

This excellent collection of poster images from close to 100 years of Western movies was originally sent to me as part of a "grab bag" collection of poster books from Mr.Hershenson. (For the uninitiated; Bruce Hershenson bills himself as "The Largest Movie Poster Dealer in the World". Considering the incredible energy he devotes to the hobby, the quality of his service and his merchandise, it's a tough claim to dispute.)I was never a huge fan of posters from this genre, but this book made me a believer. The images, especially from the pre-1940 movies which comprise much of the book, (movies right up to the publication date are covered), are absolutely mind-boggling in their lush coloring and craftmanship. The printing quality is easily as good as humongous art books that cost 4 times as much as this reasonably priced tome. I now buy all of Bruce's books, regardless of their subject matter, as there are always images that interest me, and I was especially excited about the second volume of COWBOY POSTERS, which is also highly recommended by this reviewer. The problem with Bruce's books is that as I keep falling in love with all these new posters, I keep spending more money on acquiring the originals for my collection. Fortunately, Bruce has these weekly auctions on eBay where I can get them at reasonable prices....hey, wait! Do you think there's a connection here? Hmmm... A great volume in a grand ongoing series that belongs in the collection any fan of movie poster art or cinema in general.

There's only one word to describe this book: Incredible!!! It contains some of the most beautiful movie poster artwork you've ever seen - especially all these western classics from the thirties. This book shows us how bad the movie poster artwork is today.

Uwe Reber