The places and landscapes of Italy are interpreted by two great poets who have marked one of the most important pages of the post World War II Italian cinema.

This book is a study of Martin Scorsese's early career, from his student shorts films to New York, New York. Leighton Grist explores the relationship between the issue of film authorship and a period of American cinema marked by crisis and change. It is a stimulating demonstration of sustained textual analysis, but also a significant intervention in the debates surrounding film authorship and an examination of the forces that shape films and Scorsese's authorial discourse.

In six essays written especially for this volume, The Godfather trilogy is reexamined from a variety of perspectives. Providing original analyses on the form and significance of Coppola's achievement, they demonstrate how the filmmaker revised the conventions of the American crime film in the Vietnam era, his treatment of the capitalism of the criminal underworld and its inherent violence, the power struggles within Hollywood over the film, and the contribution of opera to the epic force and cinematic style of Coppola's vision of an American criminal dynasty.

In a career that has spanned six decades-and shows no sign of slowing down-Dino DeLaurentiis has walked the cutting edge of lmmaking. He has personied the powerful, visionary Hollywood producer for one reason: he invented the role. Dino celebrates this living legend and his passionate, exhilarating life in the pictures. The son of an Italian pasta maker, DeLaurentiis was drawn to the cinema at an early age. He was essential in creating a groundbreaking Italian lm industry.

This richly comic work, long recognized as the most important expression of the director's views about himself and his art, communicates to its viewers an understanding of the processes of filmmaking itself.

”The terror film, with puzzling, disturbing, multivalent images, often leads us into regions that are strange, disorienting, yet somehow familiar; and for all the crude and melodramatic and morally questionable forms in which we so often encounter it, it does speak of something true and important, and offers us encounters with hidden aspects of ourselves and our world.” So writes S. S. Prawer in his concise and penetrating study of the horror film—from The Cabinet of Dr. Caligari and Frankenstein, to Invasion of the Body Snatchers and The Omen.