Titoli in Film e TV

Norman Wisdom's early years could easily have come straight from the pages of a Dickens novel. Left by their frightened mother and ill-treated by a brutal father, Norman and his brother were forced to fend for themselves, sleeping rough in London and stealing food to survive. This is a rags to riches tale of the man Charlie Chaplin said would take his mantle and who went on to make millions laugh around the world for over five decades.

Told in his own words, a very personal story from the star of many beloved and classic comedies, including Young Frankenstein, The Producers, and Willy Wonka and the Chocolate Factory Gene Wilder is one of the great comic actors who defined the 1970s and 1980s in movies. From his work with Woody...

Growing up, Pat O'Brien was the skinny Midwestern kid with the divorced parents and the alcoholic father. He drove himself to the University of South Dakota after finishing his last late-night shift and moved in while his roommate was asleep. His life was unceremonious - until he was picked up in the student center by a professor who envisioned his future as the household television name he would become.

Family Guy and Philosophy brings together low-brow, potty-mouthed, cartoon humor and high-brow philosophical reflection to deliver an outrageously hilarious and clever exploration of one of TVs most unrelenting families. (Okay, its not that high-brow.)

Lost is more than just a popular television show; it's a complex examination of meaningful philosophical questions. What does good versus evil mean on the island? Is it a coincidence that characters John Locke and Desmond David Hume are named after actual philosophers? What is the ethics of responsibility for Jack?

"Everything about me is in my films," Steven Spielberg has said. Taking this as a key to understanding the hugely successful moviemaker, Molly Haskell explores the full range of Spielberg's works for the light they shine upon the man himself. Through such powerhouse hits as E.T., Jurassic Park, and Indiana Jones, to less-appreciated movies like the haunting Schindler's List, Haskell shows how Spielberg's uniquely evocative filmmaking and story-telling reveal the many ways in which his life, work, and times are entwined.

Dive into the moral philosophy at the heart of all four seasons of NBC's The Good Place, guided by academic experts, including the show's philosophical consultants Pamela Hieronymi and Todd May, and featuring a foreword from creator and showrunner Michael Schur.

Ted Lasso and Philosophy explores the hidden depths beneath the vibrant veneer of AppleTV's breakout, award-winning sitcom. Blending philosophical sophistication with winsome appreciation of this feel-good comedy, the collection features original essays canvassing the breadth of the series and carefully considering the ideas it presents.

Christina Crawford's book was an immediate bestseller, addressing the infrequently discussed topic of child abuse. When Paramount Pictures released the film, starring Faye Dunaway as Crawford, it was critically panned, and remains one of the most legendary critical bombs in film history. The lavish, big-screen adaptation drew unexpected laughter in the scenes depicting life in the Crawford household. Rarely have such good intentions been met with such ridicule.

In his first memoir, Ander Monson guides listeners through a scene-by-scene exploration of the 1987 film Predator, which he has watched 146 times. Some fighters might not have time to bleed, but Monson has the patience to consider their adventure, one frame at a time. He turns his obsession into a lens through which he poignantly examines his own life, formed by mainstream white male American culture.

No one comes out of a movie talking about structure. What audiences love and remember about a movie are great scenes. Marlon Brando in the back seat in On the Waterfront giving his "I could'a been a contender" speech. Meg Ryan's fake orgasm in Katz's Deli in When Harry Met Sally with the climactic punch line: "I'll have what she's having." In Superbad, Jonah Hill professing "I love you" to his friend Michael Cera by touching his nose with a "boop".

The Jurassic Park series is one of the most famous and profitable movie franchises of all time. The movie spectacle broke film and merchandising records, pioneered special effects, and made Jeff Goldblum into an unlikely sex symbol, and now it has also been re-envisioned as a classic of queer feminist storytelling. In Clever Girl, Hannah McGregor argues that the female-only dinosaurs of Jurassic Park are stand-ins for monstrous women, engineered by men to be intelligent, violent, and adaptive, and whose chaos resists the systems designed to control them.

24 and Philosophy is a book you just can't do without. It's all here, folks: the reason presidents trust him; how Jack cuts through the lies and ambiguities; why he puts his life on the line for others; and how he knows which knee cap to blow out to get that all-important next lead. With the help of 20 "24 crazed" philosophers, you'll figure out what makes this guy tick, and much much more.

Teeming with complex, mythical characters in the shape of vampires, telepaths, shapeshifters, and the like, True Blood, the popular HBO series adapted from Charlaine Harris' best-selling The Southern Vampire Mysteries, has a rich collection of themes to explore, from sex and romance to bigotry and violence to death and immortality. The goings-on in the mythical town of Bon Temps, Louisiana, where vampires satiate their blood lust and openly commingle with ordinary humans, present no shortages of juicy metaphysical morsels to sink your teeth into.

Beneath the stylized violence and thrilling car crashes, the Mad Max films consider universal questions about the nature of human life, order and anarchy, justice and moral responsibility, society and technology, and ultimately, human redemption. In Mad Max and Philosophy, a diverse team of political scientists, historians, and philosophers investigates the underlying themes of the blockbuster movie franchise, following Max as he attempts to rebuild himself and the world.

This book introduces important concepts in philosophy through the vast array of provocative issues raised by the series, such as the ethics of the Prime Directive, Star Trek's philosophy of peace, Data and Voyager's Doctor as persons, moral relativism and the Federation's quest for liberation, the effect of alternate universes on reality and identity, the Borg as transhumanists, Federation Trekonomics, Star Trek's secular society, and much, much more!

Un futuro per l'Italia? Racconti di quotidiana resistenza in sei articoli di Repubblica: Il nuovo civismo senza odio, di Ezio Mauro; Manifestazioni, la nuova politica fatta dalle donne che la Sinistra non vede, di Lavinia Rivara; Il canto libero della pallavolo, muro all'ipocrisia, di Mattia Chiusano; Bentornata satira con la Tv delle ragazze: "Far ridere oggi è una vera sfida", di Silvia Fumarola; La seconda generazione debutta nel cinema italiano con "Bangla", di Arianna Finos; Cervelli in fuga negli atenei tedeschi, il primato degli italiani che ci dispiace, di Tonia Mastrobuoni.

In Westworld and Philosophy, philosophers, filmmakers, scientists, activists, and ethicists ask the questions you're not supposed to ask and suggest the answers you're not supposed to know. There's a deeper level to this game, and this book charts a course through the maze of the mind, examining how we think about humans, hosts, and the world around us on a journey toward self-actualization.

Michael E. Uslan, executive producer of the Batman movie franchise, offers an insider’s look at Hollywood and the process of how movies and television shows go from the drawing board to your screens. Continuing the delightful tale of his adventures begun in The Boy Who Loved Batman, Uslan draws on both his successful and less successful attempts to bring ideas to the screen, offering a helpful, honest, and breezily told guide to producing films.

Críticos culturales de plumas avinagradas han sentenciado durante décadas que el cine de Hollywood oculta un maligno instrumento de adoctrinamiento colectivo. Una perversión subliminal que aliena a las masas y les inocula la ideología dominante. Semejante visión del cine comercial supone que la gente es imbécil. Que se la traga siempre. Entre cuencos de palomitas. Y encima, riéndose.