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The Virgin Suicides

John Williams is the most famous film composer of all time. He wrote as many universally well-known tunes as the Beatles or Beethoven, if not more; his themes for Jaws, Star Wars, Indiana Jones, E.T., Jurassic Park, and Harry Potter are beloved around the world by multiple generations. This is the first major biography, achieved with unprecedented access to Williams and new interviews with Steven Spielberg and Yo-Yo Ma, among many others.

A Composer's Life

John Williams

An essential introduction to the complexities of visual representation, this book offers a critical new framework for understanding and practicing photojournalism in a global digital context.

Contemporary Ethics and Practices

Critical Photojournalism

BFI Film Classics

Actor-turned-writer/director Barbara Loden's only feature film, Wanda (1970), tells the story of an alienated working-class woman, Wanda Goronski (played by Loden), who abandons her life as a coal miner's wife and mother, electing instead to drift. Bracing in its realist texture and proto-feminist in its sensibility, it received critical acclaim upon release, winning the Critics' Prize at the Venice Film Festival in 1970. Today, Wanda is considered one of the most notable films made by a woman director and a core work of American independent cinema. Elena Gorfinkel's study of this singular film traces Loden's creative process and unconventional approach to filmmaking. Drawing on archival sources, including scripts, interviews, production records, oral history, and previously unseen ephemera, she examines the film's de-dramatised aesthetic, one that rebukes the artifice and "slickness" of Hollywood. Gorfinkel considers Loden's craft in her framing of cinematic time, manipulation of gesture, voice, and posture, narrative ellipsis, and in her use of location and non-professional actors. Providing an account of Wanda's exhibition and reception in the 1970s and after, she traces the film's feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.

Actor-turned-writer/director Barbara Loden's only feature film, Wanda (1970), tells the story of an alienated working-class woman, Wanda Goronski (played by Loden), who abandons her life as a coal miner’s wife and mother, electing instead to drift. Bracing in its realist texture and proto-feminist in its sensibility, it received critical acclaim upon release, winning the Critics’ Prize at the Venice Film Festival in 1970. Today, Wanda is considered one of the most notable films made by a woman director and a core work of American independent cinema. Elena Gorfinkel's study of this singular film traces Loden's creative process and unconventional approach to filmmaking. Drawing on archival sources, including scripts, interviews, production records, oral history, and previously unseen ephemera, she examines the film’s de-dramatised aesthetic, one that rebukes the artifice and “slickness” of Hollywood. Gorfinkel considers Loden’s craft in her framing of cinematic time, manipulation of gesture, voice, and posture, narrative ellipsis, and in her use of location and non-professional actors. Providing an account of Wanda's exhibition and reception in the 1970s and after, she traces the film's feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.

Wanda

A classic of feminist avant-garde cinema, Laura Mulvey and Peter Wollen's Riddles of the Sphinx (1977) follows the life of Louise (Dinah Stabb), a white middle-class woman living in London in the 1970s, as she confronts the complex politics of motherhood, domestic labour and work. With a kaleidoscopic array of cinematic techniques and poetic devices, the film charts Louise's process as she questions her place within white patriarchal culture and finds her voice within the burgeoning Women's Liberation Movement. Reading Riddles as an essay film, Kimberly Lamm explores how it utilises voice, sound and writing to challenge Hollywood's dominant images of women and to portray maternal care as a legitimate form of work, rich in aesthetic pleasures and feminist possibilities. She examines the voice of the Sphinx, and, connecting it to feminism's engagement with psychoanalysis, argues that Mulvey and Wollen's film works-through long histories of patriarchal viewing practices and creates conditions in which the full range of women's voices can be listened to, heard and valued. Lamm explores how Riddles, the second collaboration between Mulvey and Wollen, drew inspiration from Wollen's influential work on 'counter-cinema' and Mulvey's foundational writing on 'the male gaze'.

Laura Mulvey and Peter Wollen’s Riddles of the Sphinx (1977) follows the life of Louise (played by Dinah Stabb), a white middle-class woman living in London in the 1970s who is transforming her place in patriarchal culture. The film is recognised as one of the most important avant-garde films to have emerged from Britain during the 1970s and a classic of feminist cinema. Kimberly Lamm’s study of the film examines its kaleidoscopic array of cinematic strategies and poetic devices and how it explores issues of female representation, the place of motherhood within society and mother-daughter relationships. Lamm delves into the context of the film's production and reception, considering its significance as the second collaboration between Mulvey and Wollen, and the ways in which it was inspired by Mulvey's work on "the male gaze". She goes on to position Riddles as an essay film, analysing its formal experimentations, including the use of direct address and found footage, the rejection of continuity editing and its groundbreaking, haunting electronic score by Mike Ratledge of Soft Machine. Finally, considering the voice of the Sphinx, Lamm highlights how Mulvey and Wollen work with sound and images to reconfigure visual pleasure and create conditions in which the full range of women’s voices can be listened to, heard, and valued.

Riddles of the Sphinx

Jason Bourne

The new international spy thriller in the world-famous Jason Bourne series from the world of Robert Ludlum. Bourne's latest mission is not only deadly... it's personal. KILLING IS PART OF JASON BOURNE'S JOB. BUT THIS TIME IT'S PERSONAL. When his lover, Johanna, is murdered, Jason Bourne finds himself drawn into a murky world as he pursues a revenge more personal than anything he has felt before. But can he unravel the reasons behind Johanna's death in time, or will more people die unnecessarily? Readers love the Bourne Universe: 'Fans of Ludlum's original trilogy or the film adaptations will be riveted.' Publishers Weekly 'Hugely enjoyable' Sunday Times 'This guy can tell a story' Michael Connelly Read all of Brian Freeman's Jason Bourne books from the world of Robert Ludlum: The Bourne Evolution The Bourne Treachery The Bourne Sacrifice The Bourne Defiance The Bourne Shadow The Bourne Vendetta The Bourne Escape The Bourne Revenge

Robert Ludlum's™ The Bourne Revenge

The instant New York Times Bestseller You knew their name. You didn't know the real story. The world knew Alyson Stoner as the charming tomboy from Cheaper by the Dozen, the iconic kid dancer with Missy Elliott, and the friendly face on Disney Channel hits like Camp Rock and Phineas and Ferb. But behind the scenes, a different story was unfolding-one of relentless pressure, family trauma, and a lonely battle to get help. Semi-Well-Adjusted is more than a Hollywood memoir, it's a fierce and unflinching look at what it takes to heal in a society that seems determined to break us. With bravely and hard-earned wisdom, Alyson shares their harrowing journey from an eighty-hour work week at age eight and stratospheric child stardom, to navigating religious trauma and rebuilding a life on their own terms. Now a mental health advocate, Alyson offers a masterclass in self-reclamation for anyone ready to break free from the narratives that have defined them. Semi-Well-Adjusted is a roadmap for finding your own voice and power-despite literally everything. * The instant New York Times Bestseller, based on sales from week ending 16/08/2025

The Instant New York Times Bestseller

Semi-Well-Adjusted Despite Literally Everything

Upon its release, John McTiernan's Die Hard (1988) was met with immense commercial and critical success; breaking the $100 million mark at the box office in its first run, and resulting in four Academy Award nominations. Jon Lewis's study of the action classicclosely examines the film's novel and script adaptation, highlighting the influential role of producer Joel Silver. He delves into Silver's ground-breaking 'whammy theory', which redefined script structure by organizing scripts around timed 'beats' rather than traditional acts or scenes, tracing its impact not only in Die Hard, but also in other iconic franchises like Lethal Weapon, Predator, and The Matrix. Lewis goes on to consider the film's evocation of post-Vietnam male panic and its connection to the Iron John movement. He highlights Die Hard as a prime example of the 'male rampage film' genre, where white male protagonists express frustration with cultural antagonists like feminism, economic regulation, government bureaucracy, and political corruption. Finally, he reflects on how Die Hard resonated with its 1988 audience, looking for new antagonists in a changing world. The film's anticipation of European radical political groups and later terrorism rooted in North Africa and the Middle East foreshadows the era-defining 'war on terror' that would follow.

Die Hard

A celebration of the world's most cherished cinemas, from vintage movie houses to quirky start-ups. Grab your popcorn and settle in to the world of Silver Screens, where the magic of cinema lives on.Cinemas are where emotions come alive - where heartstrings are tugged, fears exposed, and joy explodes with every happy ending. Cinemas are a place of communal experience, of first dates and unforgettable reactions.Silver Screens captures that magic, celebrating remarkable movie houses and drive-ins around the world that are still showing films today. Part travel guide, part love letter to cinema, it whisks you across the globe through stunning photography.Step inside art deco masterpieces like Jaipur's Raj Mandir and Melbourne's Sun Theatre; visit icons such as Hollywood's Chinese Theatre and Madrid's Cine Doré; and uncover hidden gems in far-flung corners of the world. From the northernmost to the southernmost, from India's largest single screen to Italy's officially smallest, from Britain's oldest to the world's very first - Silver Screensis your ticket to cinema's most extraordinary destinations.

Spectacular Cinemas from Hollywood to Hong Kong

Silver Screens

In his compelling study of if.... (1968), starring which stars Malcolm McDowell as an English public school student who leads a guerrilla insurgence, Mark Sinker traces director Lindsay Anderson's depiction of the progress from repression, conformity and fusty ritual to anarchy and bloody revolt. The film's title is a sardonic nod to Rudyard Kipling's most famous poem, while its narrative explores how prankish rebels are groomed to police an Empire. Released at a time of unprecedented student uprisings in Europe and America, if.... provided a peculiarly English perspective on the battle between generations - the perennial war of the romantically passionate against the corrupt, the ugly, the old, and the foolish. Though its emotional surface is authentically anti-authoritarian, its intellectual substance, as Sinker argues, is rooted in a deep familiarity with the symbols of English ruling-class values. In his foreword for this new edition, Mark Sinker considers if.... 's continuing relevance in respect of two contemporary phenomena (the ghastly commonplace of school shootings; urban terrorism) including the degree to which we somehow continue to feel sympathy toward this small gang of entitled schoolboys. Contemplating director Anderson's ambivalence towards education, not least the jargons of academic film theory after the 1960s, Sinker reflects on how his own approach to the film was informed by the critical lingua franca of the 1980s music press.

Joan Micklin Silver's groundbreaking debut feature film, Hester Street (1975), vividly portrays the immigrant experience through the eyes of Gitl (Carol Kane), a young, Orthodox Jewish woman who arrives in New York City from Eastern Europe at the end of the nineteenth century. Reunited with her already-assimilated husband, Gitl finds they now have little in common and she is forced to adjust to a new way of life. Hester Street achieved international critical and commercial success, and Kane received a Best Actress nomination at the 1976 Academy Awards. Marking the film's 50th anniversary, Julia Wagner's landmark book is the first to focus exclusively on Micklin Silver's film. Wagner examines how, despite the sexism and prejudice that Micklin Silver faced, a low-budget, black-and-white, female-led, independent production with Yiddish dialogue became an unexpected box-office hit. Through close analysis, Wagner highlights the importance of Hester Street as a milestone in cinema and affirms Micklin Silver's status as a unique voice in the history of American film-making.

Hester Street

Melland Schill Perspectives on International Law

Why are constitutionalist ideals so prominent in science fiction? Does Independence Day depict self-defence as a legal concept with absolute limits? Is international law lost in space? This innovative interdisciplinary volume represents the first exploration of the relationship between international law and cinema. From Star Wars to Werner Herzog, The Godfather to The West Wing, this book uncovers a diverse range of representations of international law and its norms in film and television. Examining the wider links between international law, cinema and ideology, the contributions not only examine visual representations of international law, but they offer an essential insight into the functions fulfilled by these cinematic representations. Providing an extraordinary introduction to a variety of perspectives on core international legal questions, Cinematic perspectives on international law extends a valuable methodology by which international lawyers can critique the depiction of international law in film.

Cinematic Perspectives on International Law

The Virgin Suicides

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