Foster Hirsch's Dark Side of the Screen is by far the most thorough and entertaining study of the themes, visual motifs, character types, actors, directors, and films in this genre ever published. From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

The Dark Side Of The Screen: Film Noir

Humor & Entertainment

Hirsch, Foster

Movies

Da Capo Press

Traces the career of the distinguished British actor, discusses his approach to acting, and examines his major roles on film

Laurence Olivier On Screen (Quality Paperbacks)

For decades, in one small room on West Forty-fourth Street in Manhattan, Lee Strasberg ran the Actors Studio, where dozens of acclaimed actors absorbed a technique that became known as the "Method." Based on firsthand observations and numerous interviews, Hirsch's examination of the Studio's origins reveals how its graduates forever shaped the American stage and screen.

A Method To Their Madness

Arts & Photography

Performing Arts

Woody Allen has carved out a unique place for himself in American movies, becoming our national auteur as well as the most prolific director in the country, and creating a singular world with each film he has released since his first movie in 1969. Foster Hirsch analyzes and celebrates that world in this expert study of the themes, visual style, and acting in each of Allen's films. With the addition of a new introduction and chapter covering the eleven movies Allen has made in the last decade, from Alice to The Curse of the Jade Scorpion, this is a vital book for Allen fans and students of film alike.

Love, Sex, Death, And The Meaning Of Life: The Films Of Woody Allen

Biographies & Memoirs

Arts & Literature

Since The Dark Side of the Screen first appeared two decades ago, when film noir was still a little-known group of dark, brooding postwar B-movies, it has become the essential take on what has become one of today's most pervasive screen influences and popular genres. Covering over a hundred outstanding films and offering nearly two hundred carefully chosen stills, this is by far the most thorough and entertaining study available of noir themes, visual motifs, character types, actors, and directors. Hirsch examines the features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir icons; as well as the camera angles, lighting effects, and story lines that characterize the work of such major noir directors as Fritz Lag, Billy Wilder, and Orson Welles. With a complete list of credits to 112 films and a new introduction, Hirsch's work remains the classic analysis of the most original genre of American cinema.

The Dark Side of the Screen: Film Noir

For decades, in one small room on West Forty-fourth Street in Manhattan, Lee Strasberg ran the Actors Studio, where dozens of acclaimed actors absorbed a technique that became known as the "Method." Based on firsthand observations and numerous interviews, Hirsch's examination of the Studio's origins reveals how its graduates forever shaped the American stage and screen. A new introduction by the author studies the Actors Studio in the twenty-first century and places it in a modern context.

A Method To Their Madness: The History Of The Actors Studio

A revised and updated edition of the definitive study of film noir—the most original genre of American cinema—with a new afterword by the author
Since The Dark Side of the Screen first appeared over two decades ago, it has served as the essential take on what has become one of today’s most pervasive screen influences and enduringly popular genres. Covering over one hundred outstanding films and offering more than two hundred carefully chosen stills, it is by far the most thorough and entertaining study available of noir themes, visual motifs, character types, actors, and directors. This landmark work covers noir in full, from the iconic performances of Burt Lancaster, Joan Crawford, and Humphrey Bogart to the camera angles, lighting effects, and story lines that characterize the work of directors Fritz Lang, Billy Wilder, and Orson Welles.
With a new afterword about the lasting legacy of noir as well as recently rediscovered films deserving of their own screenings alongside the classics, The Dark Side of the Screen reestablishes itself as both an unsurpassed resource and a captivating must-read for any fan of noir.

A fascinating look at Hollywood’s most turbulent decade and the demise of the studio system—set against the boom of the post–World War II years, the Cold War, and the atomic age—and the movies that reflected the seismic shifts\nHollywood in the 1950s was a period when the film industry both set conventions and broke norms and traditions—from Cinerama, CinemaScope, and VistaVision to the epic film and lavish musical. It was a decade that saw the rise of the anti-hero; the smoldering, the hidden, and the unspoken; teenagers gone wild in the streets; the sacred and the profane; the revolution of the Method; the socially conscious; the implosion of the studios; the end of the production code; and the invasion of the ultimate body snatcher: the “small screen” television.\nHere is Eisenhower’s America—seemingly complacent, conformity-ridden revealed in Vincente Minnelli’s Father of the Bride, Walt Disney’s Cinderella, and Brigadoon, among others.\nAnd here is its darkening, resonant landscape, beset by conflict, discontent, and anxiety (The Man Who Knew Too Much, The Asphalt Jungle, A Place in the Sun, Touch of Evil, It Came From Outer Space) . . . an America on the verge of cultural, political and sexual revolt, busting up and breaking out (East of Eden, From Here to Eternity, On the Waterfront, Sweet Smell of Success, The Wild One, A Streetcar Named Desire, and Jailhouse Rock).\nAn important, riveting look at our nation at its peak as a world power and at the political, cultural, sexual upheavals it endured, reflected and explored in the quintessential American art form.

Hollywood and the Movies of the Fifties: The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher--Television

Computers & Technology

Networking & Cloud Computing

KNOPF

The classic tale behind MGM’s blockbuster movie directed by George Sidney, starring Ava Gardner, Howard Keel, and Kathryn Grayson. Bringing to life the adventurous world of Mississippi show boats, the grittiness of turn-of-the-century Chicago, and the majesty of 1920s Broadway, Pulitzer Prize winner Edna Ferber’s Show Boat is a classic. Magnolia Hawks spends her childhood aboard the Cotton Blossom, growing up amid simmering racial tension and struggling to survive life on the Mississippi. When she falls in love with the dashing Gaylord Ravenal and moves with him to Chicago, the joy of giving birth to their beautiful daughter, Kim, is offset by Gaylord’s gambling addiction and distrustful ways. Only when Kim sets off on her own to pursue success on the New York stage does Magnolia return to the Cotton Blossom, reflecting on her own life and all who once called the show boat their home. Originally published in 1926, adapted for the stage as a musical a year later and filmed three times over three decades, Show Boat brilliantly explores a nation going pivotal change through the lens of its popular culture. With a new foreword by Foster Hirsch. Vintage Movie Classics spotlights classic films that have stood the test of time, now rediscovered through the publication of the novels on which they were based.

Show Boat: Vintage Movie Classics

Literature & Fiction

FERBER, EDNA

United States

Knopf Doubleday Publishing Group

Oh, the shark has pretty teeth, dear, And he shows them pearly white. Just a jackknife has Macheath, dear, And he keeps it out of sight. The words are by Bertolt Brecht. The music is by Kurt Weill. The song is “Mack the Knife,” the number-one song of Weill’s internationally famous Threepenny Opera, originally performed on a stage in the Weimar Berlin of 1928. Its tough, sexy sound became, a quarter-century later, a signature song of America’s greatest recording stars, among them Ella Fitzgerald and Frank Sinatra. And when in 1933 Weill, already Germany’s most renowned composer, fled the Nazis to come to America (“For every age there is a place about which fantasies are written. In Mozart’s time it was Turkey. For Shakespeare, it was Italy. For us in Germany, it was always America”), he joined his appetite for the United States to his European roots and classical training and soon became one of the most admired composers of the American musical stage. He wrote one successful Broadway show after another—Lady in the Dark, Knickerbocker Holiday, One Touch of Venus, Street Scene, Lost in the Stars, among others. He worked with such theatrical greats as Gertrude Lawrence, Ira Gershwin, Maxwell Anderson, Mary Martin, Agnes de Mille, Joshua Logan, Ogden Nash, Harold Clurman, Walter Huston, E. Y. Harburg, and Elia Kazan. Always at the center of his life was his great love of thirty years, his leading lady, interpreter of his music, his wife (they were divorced in Berlin in 1933 but remarried four years later in America), the actress-singer Lotte Lenya. Foster Hirsch, using Weill’s letters, journals, and notes, and interviewing Weill’s friends and colleagues, writes about his life, his experimental, political composing in Germany, his Broadway music in America—both aspects of his work being a source of controversy among music lovers for years. Lotte Lenya said, “There is no American Weill, there is no German Weill. There is no difference between them. There is only Weill.” Hirsch details the writing, casting, and production of Weill’s eleven hit shows. He writes about Weill’s years in Hollywood and the friends he made and lost along the way. He evokes Weill’s complicated, intense collaborations with Brecht, Maxwell Anderson, Langston Hughes, Alan Jay Lerner, Elmer Rice, Moss Hart, and Ira Gershwin. In Kurt Weill on Stage, Hirsch has given us a vivid portrayal of a remarkable artist and a fabulous era of American musical theater.

Kurt Weill on Stage: From Berlin to Broadway

See the best price to sell, buy, or rent books by Hirsch, Foster. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Hirsch, Foster

See the best price to sell, buy, or rent books by Hirsch, Foster. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Dark Side Of The Screen: Film Noir

Laurence Olivier On Screen (Quality Paperbacks)

A Method To Their Madness

Love, Sex, Death, And The Meaning Of Life: The Films Of Woody Allen

The Dark Side of the Screen: Film Noir

A Method To Their Madness: The History Of The Actors Studio

The Dark Side of the Screen: Film Noir

Hollywood and the Movies of the Fifties: The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher--Television

Show Boat: Vintage Movie Classics

Kurt Weill on Stage: From Berlin to Broadway