It all goes back to growing up in the 1970s, when PBS would show the same handful of classic foreign movies over and over—Bergman, Truffaut, Fellini. And there was the rest of TV, too, where I discovered John Ford, Orson Welles, Hitchcock, Billy Wilder, and much more. On the late late show, you could usually find Casablanca. I saw Kubrick’s 2001 a few years after it came out and was knocked out by the first mainstream movie that asked its viewers to wonder—to actively speculate in awestruck fashion about what was happening on screen. The movies have always been a passion for me. The movie screen is where we dream and float away and sink within ourselves all at once. As the critic David Thomson put it, “Not even heroin or the supernatural ever went this far.”
Stanley Kubrick by David Mikics has been called by Dwight Garner of the NY Times "A cool, cerebral book about a cool, cerebral talent.” “Mikics is an adept student of Kubrick’s uncanny art. He unpeels the way that Kubrick’s movies, packed as they are with impieties, challenge, infuriate and entertain,” Garner wrote, and “ “Mikics has a flair for nailing a performance.”
Kubrick grew up in the Bronx, a doctor’s son. From a young age, he was consumed by photography, chess, and, above all else, movies. He was a self-taught filmmaker and self-proclaimed outsider, and his films exist in a unique world of their own outside the Hollywood mainstream. Obsessed with rebellion against authority, war, and male violence, Kubrick was himself a calm, coolly masterful creator and a talkative, ever-curious polymath immersed in friends and family.
Drawing on interviews and new archival material, David Mikics for the first time explores the personal side of Kubrick’s films.
David Thomson can outmatch any film critic I know for sheer pungent accuracy, as well as passion. He knows every director, every actor, every movie, and he always has something valuable—and often something essential—to say about each one. Thomson’s New Biographical Dictionary of Film, now in its sixth edition, is a continuous delight, a perfect book for browsing. A required purchase for every film buff.
With more than 100 new entries, from Amy Adams, Benedict Cumberbatch, and Cary Joji Fukunaga to Joaquin Phoenix, Mia Wasikowska, and Robin Wright, and completely updated, here from David Thomson—“The greatest living writer on the movies” (John Banville, New Statesman);“Our most argumentative and trustworthy historian of the screen” (Michael Ondaatje)—is the latest edition of The New Biographical Dictionary of Film, which topped Sight & Sound’s poll of international critics and writers as THE BEST FILM BOOK EVER WRITTEN. 3/7
Molly Haskell, like Thomson, is one of my idols. Her pioneering feminist account of how Hollywood depicted women from its golden age to the late twentieth century is also a monument to its supreme women actors, including Stanwyck and Davis, Hepburn and Bergman, and Monroe. Haskell is an expert at understanding how art shapes and responds to its era, and how film actors refine their roles.
A revolutionary classic of feminist cinema criticism, Molly Haskell's From Reverence to Rape remains as insightful, searing, and relevant as it was the day it was first published. Ranging across time and genres from the golden age of Hollywood to films of the late twentieth century, Haskell analyzes images of women in movies, the relationship between these images and the status of women in society, the stars who fit these images or defied them, and the attitudes of their directors. This new edition features both a new foreword by New York Times film critic Manohla Dargis and a new introduction…
If I had to pick the two most basic, and most enthralling, essays for understanding American movies, they would be Warshow’s "The Westerner" and "The Gangster," both included in this book. Warshow, who died tragically young, also gives us the two finest pieces ever written about Chaplin, in which he argues that the flaws and stresses in Chaplin’s film art somehow make it more, not less, impressive. Add Warshow’s properly skeptical account of Soviet cinema—he is appreciative, but also aware of how Communist ideology distorted Soviet film—and you have the very best from a star among the New York intellectuals.
This collection of essays, which originally appeared as a book in 1962, is virtually the complete works of an editor of Commentary magazine who died, at age 37, in 1955. Long before the rise of Cultural Studies as an academic pursuit, in the pages of the best literary magazines of the day, Robert Warshow wrote analyses of the folklore of modern life that were as sensitive and penetrating as the writings of James Agee, George Orwell, and Walter Benjamin. Some of these essays--notably "The Westerner," "The Gangster as Tragic Hero," and the pieces on the New Yorker, Mad Magazine, Arthur…
Wood’s book Hitchcock’s Films made the case that Hitchock was a major artist, not merely a manipulative “master of suspense” but someone who reflected profoundly on human limits, power, and authority, comedy and tragedy, men and women. He paved the way for later critics like William Rothman, who demonstrated that Hitchock’s films were richly rewarding frame by frame. Wood is always attentive to the human value of the movies he discusses, inquiring into the world of each film and wondering what it has to tell us. His book is great fun, but at the same time, it takes Hitchcock seriously as one of our deepest contemporary artists.
When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's own development as a critic. This new revised edition of "Hitchcock's Films Revisited" includes a substantial new preface in which Wood reveals his personal history as a film scholar - including his coming out as a…
Virtually any volume in the BFI Film Classics series—now sadly defunct--is worth recommending. But I’m especially fond of this one, about Jean Renoir’s masterpiece The Rules of the Game (La Règle du Jeu)--my favorite movie along with Kubrick’s 2001 (a very different kind of film!). Perkins explores each of the film’s characters, bringing out the full dimensions of Renoir’s humanism, his grand comic flair, and the bittersweet aura of this great movie completed as World War II was about to engulf Europe.
Renoir's famous and controversial comedy of manners has a troubled history. Victor Perkins presents here a sensitive socio-historical study of Renoir's revised edition of the film, released 20 years after its premiere; shaped by the profundity and originality of its form.
As a trauma therapist and dedicated researcher, I love uncovering valuable insights within lesser-known books. There are hidden gems, free from the pressure of commercial success, crafted by authors deeply committed to research, understanding, and the art of writing itself. Their dedication resonates with me, as I believe in the profound value of information and the power of critical thinking. Through my own book, Traumatization and Its Aftermath, I aim to emphasize that psychological concepts often lose their depth in translation and my mission is spreading awareness and fostering a deeper understanding of trauma and its intricate facets. With that idea in mind, I chose these five titles.
A fresh take on the difference between trauma and hardship in order to help accurately spot the difference and avoid over-generalizations.
The book integrates the latest findings in brain science, child development, psycho-social context, theory, and clinical experiences to make the case that trauma is much more than a cluster of symptoms to be tamed, but instead best understood as development gone off course, away from growth and towards (only) survival.
This book prompts a profound shift in perception, inviting to view trauma as an intricate and diverse experience, a point of view that ultimately leads to sharper treatment and, hopefully, more healing. It encourages a transition from asking, "What happened to you?" to the deeper question, "What is your relationship with what happened to you?"
Traumatization and Its Aftermath: A Systemic Approach to Understanding and Treating Trauma Disorders
The book is comprehensive, bold, and practical-a much-needed resource for the assessment and treatment of trauma. Instead of the traditional focus on the overall importance of healing, Traumatization and its Aftermath decodes why some people don't heal as easily as others, analyzes the various failures of diagnosis, and explains how to make therapeutic interventions truly effective.
This book offers a systemic deep dive into traumatization that clarifies myths and misinformation about the entire spectrum of trauma and provides both clinicians and non-clinicians with the right level of validation, preventive measures, conceptualization methodology, assessment tools, and healing facts that have not…
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