Here are 100 books that The Church of Baseball fans have personally recommended if you like
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I'm a London-based critic, author, and host whose love affair with film began after seeing The Lion King in the cinema as a kid. I trained as a journalist because I wanted to talk about the world. Since then I’ve been covering film and culture for the likes of Empire Magazine, Time Out, and IGN. I co-host MTV Movies and the weekly film reviews podcast Fade to Black; co-founder of The First Film Club event series and podcast, and am a member of London's Critics' Circle. I'm a voice for gender equality, diversity, and inclusion in the entertainment industry and an advocate for MENA representation as a writer of Tunisian heritage.
A massive influence on my own cultural approach to understanding cinema and intersectional representation, hooks offers acute analyses of the way films can affect us on a personal, political, and communal level, for better and for worse.
Hooks is smart, sharp, and switched on to how misogyny and racism can adversely affect the treatment of female characters of colour, especially.
Movies matter - that is the message of Reel to Real, bell hooks' classic collection of essays on film. They matter on a personal level, providing us with unforgettable moments, even life-changing experiences and they can confront us, too, with the most profound social issues of race, sex and class. Here bell hooks - one of America's most celebrated and thrilling cultural critics - talks back to films that have moved and provoked her, from Quentin Tarantino's Pulp Fiction to the work of Spike Lee. Including also her conversations with master filmmakers such as Charles Burnett and Julie Dash, Reel…
I’ve loved weird horror from a young age, and that passion only grew as the years went on. It all started when I was ten, and I got an anthology of classic horror for my birthday. Inside I read The White People by Machen, Cast the Runes by MR James, and The Colour Out of Space by Lovecraft, and I was hooked. Ever since then I chased that same thrill of the horror that is so out there and strange it just breaks your brain and changes you inside out. I have a feeling I’ll be chasing that obsession until the end of my days.
Another fun bit of psychedelic folk horror, combined with a really cool history of the experimental films of Canada.
The narrator is compelling, and the whole time you feel the pull of her obsession to the film she’s looking into, even if it unsettles her and terrifies her at the same time. Love that pull of danger, wanting to look, to see, but knowing that doing so will probably kill you…
The award-winning author of the Hexslinger Series "explores the world of film and horror in a way that will leave you reeling" (Jeff VanderMeer, author of the Southern Reach Trilogy).
Former film teacher Lois Cairns is struggling to raise her autistic son while freelancing as a critic when, at a screening, she happens upon a sampled piece of silver nitrate silent footage. She is able to connect it to the early work of Mrs. Iris Dunlopp Whitcomb, the spiritualist and collector of fairy tales who mysteriously disappeared from a train compartment in 1918.
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
Peter Biskind chronicles the rise of New Hollywood in the 1970s, featuring such "movie brat" directors as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. But he also refers to such older directors as Stanley Kubrick.
It’s written in a chatty and easy-to-read style and is full of useful tidbits of information about Kubrick and especially his new backers at Warner Brothers.
When the low-budget biker movie Easy Rider shocked Hollywood with its success in 1969, a new Hollywood era was born. This was an age when talented young filmmakers such as Scorsese, Coppola, and Spielberg, along with a new breed of actors, including De Niro, Pacino, and Nicholson, became the powerful figures who would make such modern classics as The Godfather, Chinatown, Taxi Driver, and Jaws. Easy Riders, Raging Bulls follows the wild ride that was Hollywood in the '70s -- an unabashed celebration of sex, drugs, and rock 'n' roll (both onscreen and off) and a climate where innovation and…
I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.
As Hollywood’s Golden Age sputtered to a close and the old studio behemoths collapsed, United Artists became the Little Studio That Still Could, thanks largely to the discerning eye and risk-taking appetite of David Picker, its young head of marketing and production. Under his leadership, UA made deals that snagged the James Bond series, the Beatles’ two feature films, and Woody Allen’s best movies. Picker’s formula was simple—sign the most intriguing filmmakers in America and Europe to low-budget, one-movie contracts and then leave them alone to do their finest work. Picker praises his pals and lacerates his foes, including Robert Altman, Otto Preminger, and most especially Bill Cosby, whom he despised long before the sexual assault allegations. Anyone recall Cosby’s woeful Leonard Part 6?
I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
There have been so many books about George Lucas’s most famous creation, the Star Wars saga, and about the man himself.
As far as biographical accounts are concerned, Dale Pollock’s volume (initially published in 1983, and updated in 1990 and 1999) has to be given a lot of credit for being the first to properly introduce this unique filmmaker, whose life and career have been so full of unexpected twists and turns, to the world – and to me!
Pollock’s well-researched and very readable book set a high standard for all the writers following in his footsteps.
Filled with revelations about the origins and making of American Graffiti, Star Wars, The Empire Strikes Back, Raiders of the Lost Ark, and Return of the Jedi, this only full-length biography of filmmaker and cinematic visionary George Lucas has been updated with a substantial new chapter that discusses the revamped Star Wars Trilogy Special Edition, the Star Wars prequels, the filming of the first installment, and the controversial ways in which Lucas's approach and success continue to alter the landscape of the film industry.
As a massively dyslexic writer. I have always felt like I was standing outside a party I wasn’t invited to. Reading writers with diverse backgrounds and brain types from me but a common humanity makes me feel less alone. I grew up on the activist hippy side of the 60’s culture wars. I grew up poor. I went to a mostly white hippy grammar school. I went to a mostly Black inner-city high school. My oldest son is intellectually disabled. I have committed petty crimes, done drugs, been a drunk. I am one diverse mother-trucker. But then again, aren’t we all.
Marissa doesn’t label herself but seems to deal with Autism Spectrum Disorder. In her words, “The best way I can think to describe it is that there’s a beehive in my chest, and most people upset the bees. The nearer they get, the worse it is—and direct contact makes them swarm.” Marissa is more than a diagnosis. She is a film editor struggling to verbalize to producers her inner creative process. I was a film editor for many years and Little’s description of the creative process was spot on. Marissa is trapped on a movie set full of mayhem and murder. How she presents makes it hard for anyone to believe her when she discovers a killer amongst them. The book is a powerful statement on looking beyond how someone presents the truth they are speaking.
A Wall Street Journal, Seattle Times, and CrimeReads Best Mystery Book of 2020
"Funny, fast-paced, and a pleasure to read." --The Wall Street Journal
An egomaniacal movie director, an isolated island, and a decades-old murder--the addictive new novel from the bestselling author of Dear Daughter
Marissa Dahl, an up-and-coming film editor with a flair for faux pas, travels to a small island off the coast of Delaware to work with the legendary--and legendarily demanding--director Tony Rees on a feature film with a familiar logline.
Some girl dies.
It's not much to go on, but the specifics don't concern Marissa. Whatever…
I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
Apart from presenting George Lucas in his own words, this book offers a concise introduction to his career, including a chronology and a filmography.
The interviews collected herein go from a May 1971 article in theSan Francisco Chronicle about the young filmmaker whose first feature, the rather abstract Science Fiction dramaTHX 1138, had just come out (and flopped!), all the way to a conversation with the Los Angeles Times in January 1999 about the forthcoming release of the firstStar Wars prequelStar Wars: Episode I – The Phantom Menace.
Despite dramatic changes in Lucas’s status as a filmmaker (and businessman) across this period, the interviews reveal striking continuities, notably his striving for maximum control over his films and business affairs.
A director, producer, and writer, George Lucas is the power behind ""The Force."" The son of a conservative small-town businessman, he grew up to become arguably the most identifiable and popular filmmaker in the history of the medium. Yet unlike his more publicly engaged contemporaries, Lucas rarely grants reporters an audience. This first book of Lucas's interviews affords fans and students of film and science fiction a rare opportunity. Editor Sally Kline collects conversations from the reticent director spanning Lucas's entire career, from the making of his first film, 1971's THX-1138, through American Graffiti, the triumph of the Star Wars…
I fell in love with Hollywood’s Golden Age when I first watched Psycho. From there, every new film and book from or about the era has been a journey into Hollywood’s history. I got into higher education and writing because I enjoy sharing what I’ve learned with others as much as I enjoy the learning process itself. What interests me most about Hollywood history is how the industry has interacted with American and global history. Hollywood has always had either a front-row seat or a seat at the table of history in the making. Not always on the right side of history, but always fascinating.
Wasson and Basinger are two other authors where you simply want to read everything they’ve written.
The reason I picked Hollywood: The Oral History for this list is that you have several hundred pages of Hollywood players telling their own stories. What could be better?? We get the scoop from stars, grips, screenwriters, carpenters, producers, directors, publicists, and everything in between.
What was it like to work in Hollywood in 1949? This book has your answer. What was the transition from Old Hollywood to New Hollywood like, this book has the goods.
'Absorbing . . . rippling with fun and atmosphere.' Sight & Sound
'Hollywood's ultimate oral history.' New Yorker
The greatest conversation in the history of Hollywood.
From the archives of the American Film Institute comes a unique picture of what it was like to work in Hollywood from its beginnings to its present day. Hollywood: The Oral History, lets a reader 'listen in' on candid remarks from the biggest names in front of the camera - Bette Davis, Meryl Streep, Tom Hanks, Jane Fonda, Harold Lloyd - the biggest…
I’ve always loved movies. In my 20s, I went to film school – perhaps you can still find a couple of the short films I wrote with animator Matthew Hood on Vimeo (Hourglass and Metalstasis) – and I worked a little in the UK film industry reading scripts for Film4, among others. I’ve also interviewed filmmakers, including Nicolas Winding Refn, Christopher Hampton, Life of Brian producer John Goldstone and editor Anne V. Coates. And I’ve always found a romance, despite the seedy aspects, of Tinseltown being developed out in Hollywoodland, a place of orange groves and pepper trees where people from the Midwest went to retire in the sun.
Sidney Lumet directed Twelve Angry Men and The Verdict, among many others, and the beauty of this short book is just how practical he is about his craft. In the magazine interviews and hagiographies about directors, we seldom get a true sense of the working day on a movie set, or what happens long before shooting begins and months after it finishes. But here Lumet reveals why he always tried to schedule a very simple shot for the first set-up on day 1 of production, the value of a rehearsal period (if he was granted one) and that he took a lunchtime nap. From first being offered a script to the final sound mix, this is what a movie director really does.
“Invaluable.... I am sometimes asked if there is one book a filmgoer could read to learn more about how movies are made and what to look for while watching them. This is the book.” —Roger Ebert, The New York Times Book Review
Why does a director choose a particular script? What must they do in order to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout—involving more than one hundred extras and three colliding taxis—in the heart of New York’s diamond district? What does it take to keep the studio…
I was a romance reader long before becoming an author. 89 published books later, including 2 New York Times and 9 USA Today bestsellers, I feel justified in claiming some knowledge on the subject. I believe you must be a book lover, an avid reader, to be a successful writer.That said, everyone has diverse tastes, and I think taste and what a person needs in a book, changes with time and circumstances. Luckily there have never been more books available. You just have to find them. Whether you read my recommendations and said, “Yes!” or “Hell, no!”, I hope you're one step closer to your next best read.
I’ll admit that I picked up Tessa Bailey’s books strictly because of the reader raves all over TikTok. I read her It Happened One Summer first, and then immediately put Hook, Line, and Sinker on my wish list and I have to say, I loved the second book even more than the first, and that was a high bar to beat.
A riches-to-rags story about two sisters forced to move from their luxurious lives in LA to a much more sparce existence in a small fishing village populated with sexy crab fishermen, it’s part Schitt’s Creek and part Deadliest Catch—a testament to the fact this toe-tingling romance was conceived and written during the pandemic when the author was admittedly binging both shows on TV.
AN INSTANT #1 NEW YORK TIMES AND #1 USA TODAY BESTSELLER
In the follow-up to It Happened One Summer, Tessa Bailey delivers another deliciously fun rom-com about a former player who accidentally falls for his best friend while trying to help her land a different man...
King crab fisherman Fox Thornton has a reputation as a sexy, carefree flirt. Everyone knows he's a guaranteed good time-in bed and out-and that's exactly how he prefers it. Until he meets Hannah Bellinger. She's immune to his charm and looks, but she seems to enjoy his... personality And wants to be friends Bizarre.…
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