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With its gothic tale of a troubled teen haunted by visions of a figure in a Halloween rabbit suit, Donnie Darko was among the first cult movie phenomena of the twenty-first century, making debut director Richard Kelly Hollywood hot property before he reached his thirtieth birthday. This study narrates the film's journey from box-office bemusement through word of mouth success to the recent director's cut of the film, and also discusses fans' reactions to the film's enigmatic conclusion, explaining how Donnie Darko gripped the imagination of Generation X teenagers across the world.

First published in 1963, the International Film Guide enjoys an unrivaled reputation as the industry's most authoritative and trusted resource on contemporary world cinema. Its world survey section alone covers the international film output of more than 120 countries. The 2010 edition tracks the most significant trends and advances in global cinema over the past year. With the Berlin Film Festival celebrating its sixtieth anniversary, the guide reviews the success and widespread influence of the festival on international filmmaking; and with the monumental popularity of James Cameron's Avatar (2009), as well as the captivating innovations of Pixar, the volume examines 3D films in depth. The guide looks back at the history of 3D cinema and considers recent favorites, such as Pixar's Oscar-nominated Up (2009), against future film possibilities. The International Film Guide 2010 will interest industry veterans, filmmakers, cinema enthusiasts, and the casual theatergoer. It summarizes all the major festivals and film markets, and in addition to popular core features, the 2010 edition includes a special section on prominent figures and powerbrokers. Written by expert local correspondents, the guide's critical reviews assess both feature films and documentaries and shorts. Supplementary materials are constantly updated and available at www.internationalfilmguide.com.

First published in 1963, "The International Film Guide" enjoys an unrivalled reputation as the most authoritative and trusted source of information on contemporary world cinema. Comprehensive international coverage is offered via a 'World Survey' section encompassing the output of over 90 countries. "The 2011 International Film Guide" offers an overview of trends and changes in global cinema across the last 12 months. Of interest to the industry, film enthusiasts and the casual cinemagoer, the guide provides summaries of all the major festivals and film markets. In addition to the core features that have continued to grow over the publication's 47 editions, special feature sections will look at important trends, and profile major figures in the film industry. It also includes comprehensive detailed information about dozens of the leading film festivals and listings of many festivals and markets of note. Written by expert local correspondents who present critical reviews assessing features, documentaries and shorts

The Personal Camera is an exploration of an elusive but more and more compelling field: essayistic cinema. The essay film, together with its cognate forms—the diary, the travelogue, the notebook and the self-portrait—is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker, instead of withdrawing behind the camera, comes out into the open, to say 'I', to take responsibility, and to address and engage with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnés Varda.

Stephen Keane's history of the disaster genre offers a detailed analysis of films such as The Towering Inferno, Independence Day, Titanic, and The Day After Tomorrow. He looks at the ways in which disaster movies can be read in relation to both contextual considerations and the increasing commercial demands of contemporary Hollywood. In this second edition, he adds new material regarding cinematic representations of disaster in the wake of 9/11 and an analysis of disaster movies in light of recent natural disasters. Keane continually reworks this previously unexplored genre.

Mise-en-scène: Film Style and Interpretation explores and elucidates constructions of this fundamental concept in thinking about film. In uncovering the history of mise-en-scène within film criticism, and through the detailed exploration of scenes from films as Imitation of Life and Lone Star, John Gibbs makes the case for the importance of a sensitive understanding of film style, and provides an introduction to the skills of close reading. This book thus celebrates film-making as well as film criticism that is alive to the creative possibilities of visual style.