{"title":"Film","description":"\u003cp\u003eBrowse our Film collection. Hot Sale.\u003c\/p\u003e","products":[{"product_id":"in-search-of-lost-films-hardcover-edition-by-phil-hall","title":"IN SEARCH OF LOST FILMS (HARDCOVER EDITION) by Phil Hall","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/@font-face\t{font-family:Arial;\tpanose-1:2 11 6 4 2 2 2 2 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}@font-face\t{font-family:\"Cambria Math\";\tpanose-1:2 4 5 3 5 4 6 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face\t{font-family:Calibri;\tpanose-1:2 15 5 2 2 2 4 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1073786111 1 0 415 0;} \/* Style Definitions *\/p.MsoNormal, li.MsoNormal, div.MsoNormal\t{mso-style-unhide:no;\tmso-style-qformat:yes;\tmso-style-parent:\"\";\tmargin:0in;\tmargin-bottom:.0001pt;\tmso-pagination:widow-orphan;\tfont-size:12.0pt;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}.MsoChpDefault\t{mso-style-type:export-only;\tmso-default-props:yes;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}@page WordSection1\t{size:8.5in 11.0in;\tmargin:1.0in 1.0in 1.0in 1.0in;\tmso-header-margin:.5in;\tmso-footer-margin:.5in;\tmso-paper-source:0;}div.WordSection1\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eAn extraordinary number of important films are believed to be lost forever. How the loss could happen and if these missing gems can be recovered are explored by noted film critic and journalist Phil Hall. His extensive research reveals the circumstances that caused this cultural tragedy that spanned silent movies to the 1970s.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe astonishing disappearance of Hollywood, foreign, and independent films of significant historical and artistic importance includes \u003ci\u003eCleopatra\u003c\/i\u003e (1917)with Theda Bara, \u003ci\u003eThe Great Gatsby \u003c\/i\u003e(1926) with Warner Baxter, \u003ci\u003eHumor Risk\u003c\/i\u003e (1921) with The Marx Brothers, and \u003ci\u003eLondon After Midnight\u003c\/i\u003e (1927)with Lon Chaney. The works of Erich Von Stroheim, Oscar Micheaux, Orson Welles,Stanley Kramer, and Vincente Minnelli were impacted by this tragedy. Pioneering technological achievements in color cinematography, sound film technology,animation, and widescreen projection are also among the treasures that are presumed missing.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eDiscover the destruction of memorable movie masterpieces, and learn of heroic efforts in therace against time to salvage cinematic history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e  \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eAbout the author: Phil Hall has a three-decade career in film journalism. His film-related writing has appeared in \u003ci\u003eThe New York Times\u003c\/i\u003e, \u003ci\u003eNew York Daily News\u003c\/i\u003e, \u003ci\u003eWired,\u003c\/i\u003e and \u003ci\u003eFilm Threat,\u003c\/i\u003e and he is the host of \u003ci\u003eThe Online Movie Show\u003c\/i\u003e on PPRN Radio. He is the author of six books, including \u003ci\u003eThe History of Independent Cinema\u003c\/i\u003e and \u003ci\u003eThe Greatest Bad Movies of All Time\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Helvetica; mso-bidi-font-family: Helvetica;\"\u003e\"\u003c\/span\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003eIn Search of Lost Films \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003ediscusses how cinema can fade into obscurity, and efforts to recover and reconstruct their contributions to cultural history. Chapters discuss the search for ten unique lost silent films, another ten unique sound era films, the hunt for missing sequences\/segments, the circumstances that prompted the disappearance of groundbreaking footage, and much more. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eIn Search of Lost Films\u003c\/i\u003e is a \"must-read\" for dedicated cinema connoisseurs, highly recommended.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e- Midwest Book Review\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003eArticle from John B. Valeri's blog \"History's Mysteries\"\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003eReview from Plan Nine Crunch\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003eArticle from the Wilton Daily Voice\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e \u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\"In Search of Lost Films. Phil Hall (BearManor Media, 2016). Author Hall is on an important mission, and he reveals all about it in this impressive book. He explains why so many films throughout the world have disappeared. Hall also describes a number of these movies and discusses the difficulty of evaluating the work of stars like Theda Bara and Lon Chaney because so many of their films are missing. But my favorite part of the book lists the various (and sometimes strange) places where certain lost films have already been discovered.  After reading this book, I started looking closer at storage areas, closets and yard sales for suspicious-looking film canisters.\"\u003cbr\u003e-- Carolyn Howard-Johnson's New Book Review\u003cbr\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222446866494,"sku":"izh1787291529785","price":28.86,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/in-search-of-lost-films-hardcover-edition-by-phil-hall_1.jpg?v=1787291535"},{"product_id":"in-search-of-lost-films-softcover-edition-by-phil-hall","title":"IN SEARCH OF LOST FILMS (SOFTCOVER EDITION) by Phil Hall","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/@font-face\t{font-family:Arial;\tpanose-1:2 11 6 4 2 2 2 2 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}@font-face\t{font-family:\"Cambria Math\";\tpanose-1:2 4 5 3 5 4 6 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face\t{font-family:Calibri;\tpanose-1:2 15 5 2 2 2 4 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1073786111 1 0 415 0;} \/* Style Definitions *\/p.MsoNormal, li.MsoNormal, div.MsoNormal\t{mso-style-unhide:no;\tmso-style-qformat:yes;\tmso-style-parent:\"\";\tmargin:0in;\tmargin-bottom:.0001pt;\tmso-pagination:widow-orphan;\tfont-size:12.0pt;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}.MsoChpDefault\t{mso-style-type:export-only;\tmso-default-props:yes;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}@page WordSection1\t{size:8.5in 11.0in;\tmargin:1.0in 1.0in 1.0in 1.0in;\tmso-header-margin:.5in;\tmso-footer-margin:.5in;\tmso-paper-source:0;}div.WordSection1\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eAn extraordinary number of important films are believed to be lost forever. How the loss could happen and if these missing gems can be recovered are explored by noted film critic and journalist Phil Hall. His extensive research reveals the circumstances that caused this cultural tragedy that spanned silent movies to the 1970s.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe astonishing disappearance of Hollywood, foreign, and independent films of significant historical and artistic importance includes \u003ci\u003eCleopatra\u003c\/i\u003e (1917)with Theda Bara, \u003ci\u003eThe Great Gatsby \u003c\/i\u003e(1926) with Warner Baxter, \u003ci\u003eHumor Risk\u003c\/i\u003e (1921) with The Marx Brothers, and \u003ci\u003eLondon After Midnight\u003c\/i\u003e (1927)with Lon Chaney. The works of Erich Von Stroheim, Oscar Micheaux, Orson Welles,Stanley Kramer, and Vincente Minnelli were impacted by this tragedy. Pioneering technological achievements in color cinematography, sound film technology,animation, and widescreen projection are also among the treasures that are presumed missing.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eDiscover the destruction of memorable movie masterpieces, and learn of heroic efforts in therace against time to salvage cinematic history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e  \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eAbout the author: Phil Hall has a three-decade career in film journalism. His film-related writing has appeared in \u003ci\u003eThe New York Times\u003c\/i\u003e, \u003ci\u003eNew York Daily News\u003c\/i\u003e, \u003ci\u003eWired,\u003c\/i\u003e and \u003ci\u003eFilm Threat,\u003c\/i\u003e and he is the host of \u003ci\u003eThe Online Movie Show\u003c\/i\u003e on PPRN Radio. He is the author of six books, including \u003ci\u003eThe History of Independent Cinema\u003c\/i\u003e and \u003ci\u003eThe Greatest Bad Movies of All Time\u003c\/i\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Helvetica; mso-bidi-font-family: Helvetica;\"\u003e\"\u003c\/span\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003eIn Search of Lost Films \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003ediscusses how cinema can fade into obscurity, and efforts to recover and reconstruct their contributions to cultural history. Chapters discuss the search for ten unique lost silent films, another ten unique sound era films, the hunt for missing sequences\/segments, the circumstances that prompted the disappearance of groundbreaking footage, and much more. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eIn Search of Lost Films\u003c\/i\u003e is a \"must-read\" for dedicated cinema connoisseurs, highly recommended.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e- Midwest Book Review\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003eArticle from John B. Valeri's blog \"History's Mysteries\"\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003eReview from Plan Nine Crunch\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cbr\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cspan style=\"font-style: italic;\"\u003eArticle from the Wilton Daily Voice\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e \u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cbr\u003e\"In Search of Lost Films. Phil Hall (BearManor Media, 2016). Author Hall is on an important mission, and he reveals all about it in this impressive book. He explains why so many films throughout the world have disappeared. Hall also describes a number of these movies and discusses the difficulty of evaluating the work of stars like Theda Bara and Lon Chaney because so many of their films are missing. But my favorite part of the book lists the various (and sometimes strange) places where certain lost films have already been discovered.  After reading this book, I started looking closer at storage areas, closets and yard sales for suspicious-looking film canisters.\"\u003cbr\u003e-- Carolyn Howard-Johnson's New Book Review\u003cbr\u003e\n\u003cdiv\u003e \u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222446899262,"sku":"gka1787291529872","price":17.94,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/in-search-of-lost-films-softcover-edition-by-phil-hall_1.jpg?v=1787291535"},{"product_id":"horror-mystery-photoplay-editions-and-magazine-fictionizations-volume-ii-softcover-edition-by-thomas","title":"HORROR \u0026 MYSTERY PHOTOPLAY EDITIONS AND MAGAZINE FICTIONIZATIONS, VOLUME II (SOFTCOVER EDITION) by Thomas Mann","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:0 0 0 0 0 0 0 0 0 0;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cdiv class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eHORROR \u0026amp; MYSTERY PHOTOPLAY EDITIONS AND MAGAZINE FICTIONIZATIONS, VOLUME II (SOFTCOVER)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"MsoNormal\" style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eISBN  9781629330716\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003ePhotoplay editions were novels that were based on new movies and released as a promotional tie-in with the movie’s release. They were often illustrated with photos from the movies. First published around 1912, they were in widest circulation during the 1920s and 1930s, and continue to be written and released today. Comparable short story versions frequently appeared in popular movie magazines,\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eIn Thomas Mann’s second volume, hundreds of additional Photoplay editions and short stories of films are analyzed. Discover how many Photoplay editions were based on advance copies of scripts and contain scenes that were later deleted. As cultural artifacts of bygone eras, novels and short stories based on films that are now lost are often the only surviving record. For example, the previously unknown short story version of Lon Chaney’s lost film, \u003ci\u003eA Blind Bargain\u003c\/i\u003e (1923) is reprinted here for the first time.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eListed are multiple story versions of films that featured Boris Karloff, Bela Lugosi, Lon Chaney Sr. and Lon Chaney Jr, and Peter Lorre, and supporting players from obscure mysteries featuring Robert Armstrong, Lionel Atwill, Ricardo Cortez, Frances Drake, Sir Cedric Hardwicke, J. Carroll Naish, Marjorie Williams, George Zucco, and many others. Several Alfred Hitchcock book editions are also cataloged.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eOther film book editions chronicled include:\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Adventures of Kathlyn\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eBride of Frankenstein\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Creature from the Black Lagoon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eDay of the Triffids\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eDoctor X\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eFlash Gordon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Ghost Breakers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eInvasion of the Body Snatchers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Invisible Man\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eIt Came from Outer Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eKing Kong and Son of Kong\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eLaura\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Legend of Hell House\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eLondon After Midnight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Lost World\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Mask of Fu Manchu\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eMeet Nero Wolfe\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eMighty Joe Young\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eMurders in the Rue Morgue\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eNorth by Northwest\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eReptilicus\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eShe\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThings to Come\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Verdict\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eVertigo\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eWhite Zombie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Wolf Man\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eMultiple stories that tie in to a variety of screen sleuths are also listed: Arsene Lupin, Bulldog Drummond, Charlie Chan, The Falcon, Lone Wolf, Hildegarde Withers, Nancy Drew, Nick Carter, Perry Mason, Philo Vance, The Saint, The Thin Man, Torchy Blane, and Mr. Wong.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThomas Mann is an independent scholar living in Washington, D.C., where he spent over three decades as a general reference librarian in the Main Reading Room of the Library of Congress.  He is the author of \u003ci\u003eThe Oxford Guide to Library Research\u003c\/i\u003e (Oxford University Press, 2015).\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222446932030,"sku":"ixi1787291529937","price":14.16,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/horror-mystery-photoplay-editions-and-magazine-fictionizations-volume-ii-softcov_1.jpg?v=1787291535"},{"product_id":"sex-in-the-cinema-the-pre-code-years-1929-1934-softcover-edition-by-lou-sabini","title":"SEX IN THE CINEMA: THE PRE-CODE YEARS (1929-1934) (SOFTCOVER EDITION) by Lou Sabini","description":"\u003cp\u003e\u003cstrong\u003eISBN  9781629331065\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHollywood movies in the 1920s depicted sex, violence, and alcohol and drug abuse with freewheeling abandon, but filmmaking freedom halted with the mysterious murder of director William Desmond Taylor, the drug death of writer-director-actor Wallace Reid, and the rape trials of Roscoe “Fatty” Arbuckle. Hollywood had to choose self-censorship or face the moral indignation of the law. They chose to manage movie madcaps themselves. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWill H. Hays, President of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945, prescribed the Production Code in 1930 and began strictly enforcing it in 1934. The Production Code spelled out a set of moral guidelines that were popularly known as the Hays Code. For decades, moviemaking was never the same.\u003cbr\u003e\u003cbr\u003eRediscover 107 spicy films from the Pre-code era, including \u003cspan style=\"font-style: italic;\"\u003eStolen Heaven \u003c\/span\u003e(1931), \u003cspan style=\"font-style: italic;\"\u003eThe Night of June 13th\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003eThree on a Match\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003eRed-Headed Woman\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003eCall Her Savage\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003eThis Reckless Age\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003eYoung Bride\u003c\/span\u003e (1932), \u003cspan style=\"font-style: italic;\"\u003ePanama Flo \u003c\/span\u003e(1932), and \u003cspan style=\"font-style: italic;\"\u003eBaby Face\u003c\/span\u003e (1933).\u003cbr\u003e\u003cbr\u003eRelive the fabled faces of these fiery films, such as Barbara Stanwyck, Norma Shearer, Jean Harlow, Bette Davis, Greta Garbo, James Cagney, Clark Gable, Edward G. Robinson, Wallace Beery, Carole Lombard, Frances Dee, Chester Morris, and Sylvia Sidney, as well as directors Frank Capra, Rouben Mamoulian, James Whale, William Wellman, Michael Curtiz, William Wyler, and W. S. Van Dyke.\u003cbr\u003e\u003cbr\u003eAuthor Lou Sabini points his comprehensive spotlight on the often forgotten yet always fascinating films that dared depict violence, drugs, and sex with a sinful flair.\u003cbr\u003e\u003cbr\u003e107 films profiled. Illustrated with 178 rare photographs and memorabilia from the world’s archives. Complete casts, credits, production history, and biographical profiles of the stars, director, writers, and cameramen.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eAbout the author:\u003c\/span\u003e Lou Sabini attended the School of Visual Arts in Manhattan, later teaching and lecturing about film. He is the author of \u003cspan style=\"font-style: italic;\"\u003eBehind the Scenes of \u003c\/span\u003eThey Were Expendable.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222448341054,"sku":"klq1787291536787","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/sex-in-the-cinema-the-pre-code-years-1929-1934-softcover-edition-by-lou-sabini_1.jpg?v=1787291541"},{"product_id":"talking-sixties-drive-in-movies-softcover-edition-by-tom-lisanti","title":"TALKING SIXTIES DRIVE-IN MOVIES (SOFTCOVER EDITION) by Tom Lisanti","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/@font-face\t{font-family:Arial;\tpanose-1:2 11 6 4 2 2 2 2 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}@font-face\t{font-family:\"Cambria Math\";\tpanose-1:2 4 5 3 5 4 6 3 2 4;\tmso-font-charset:1;\tmso-generic-font-family:roman;\tmso-font-format:other;\tmso-font-pitch:variable;\tmso-font-signature:0 0 0 0 0 0;}@font-face\t{font-family:Calibri;\tpanose-1:2 15 5 2 2 2 4 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1073786111 1 0 415 0;} \/* Style Definitions *\/p.MsoNormal, li.MsoNormal, div.MsoNormal\t{mso-style-unhide:no;\tmso-style-qformat:yes;\tmso-style-parent:\"\";\tmargin:0in;\tmargin-bottom:.0001pt;\tmso-pagination:widow-orphan;\tfont-size:12.0pt;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}p\t{mso-style-noshow:yes;\tmso-style-priority:99;\tmso-margin-top-alt:auto;\tmargin-right:0in;\tmso-margin-bottom-alt:auto;\tmargin-left:0in;\tmso-pagination:widow-orphan;\tfont-size:12.0pt;\tfont-family:\"Times New Roman\";\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;}span.apple-converted-space\t{mso-style-name:apple-converted-space;\tmso-style-unhide:no;}.MsoChpDefault\t{mso-style-type:export-only;\tmso-default-props:yes;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}@page WordSection1\t{size:8.5in 11.0in;\tmargin:1.0in 1.0in 1.0in 1.0in;\tmso-header-margin:.5in;\tmso-footer-margin:.5in;\tmso-paper-source:0;}div.WordSection1\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp style=\"margin: 0in; margin-bottom: .0001pt;\"\u003e\u003cspan style=\"font-size: 14.0pt; color: black;\"\u003eYou don’t have to wait until dusk to rediscover populardrive-movies from the 1960s. This collection of profiles, interviews, andtributes include the stars you once watched through a windshield: ArleneCharles, Nancy Czar, Gail Gerber, Christopher Riordan, and Irene Tsu talkingabout\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eGirl Happy\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1965),\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eSpinout\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1966),\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eParadise Hawaiian Style\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1966),\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eClambake\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/i\u003e(1967), and\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eDouble Trouble\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1967) with Elvis Presley; Bobbi Shawand Steven Rogers talking\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eBeachBlanket Bingo\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1965) andother beach party movies; Jan Watson and Diane Bond talking spy spoofs;Nicoletta Machiavelli talking spaghetti Westerns; Mimsy Farmer and MaggieThrett talking alienated youth movies, such as\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eRiot on Sunset Strip\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1967),\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eDevil’s Angels\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1967),\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eHot Rods to Hell\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1967), and\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003ci\u003eThe Wild Racers\u003c\/i\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e(1968); and Valerie Starrett talkingbiker films.\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Arial; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; margin-bottom: .0001pt; font-variant-caps: normal; orphans: auto; text-align: start; widows: auto; -webkit-text-stroke-width: 0px; word-spacing: 0px;\"\u003e\u003cspan style=\"font-size: 14.0pt; color: black;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Arial; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; margin-bottom: .0001pt; font-variant-caps: normal; orphans: auto; text-align: start; widows: auto; -webkit-text-stroke-width: 0px; word-spacing: 0px;\"\u003e\u003cspan style=\"font-size: 14.0pt; color: black;\"\u003eShove your seatback for extra leg room, grab some popcorn, and cruise with author Tom Lisantiback to the decade when carloads of kids let the stars be their theater.\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/@font-face\t{font-family:\"Cambria Math\";\tpanose-1:2 4 5 3 5 4 6 3 2 4;\tmso-font-charset:1;\tmso-generic-font-family:roman;\tmso-font-format:other;\tmso-font-pitch:variable;\tmso-font-signature:0 0 0 0 0 0;}@font-face\t{font-family:Calibri;\tpanose-1:2 15 5 2 2 2 4 3 2 4;\tmso-font-charset:0;\tmso-generic-font-family:auto;\tmso-font-pitch:variable;\tmso-font-signature:-536870145 1073786111 1 0 415 0;} \/* Style Definitions *\/p.MsoNormal, li.MsoNormal, div.MsoNormal\t{mso-style-unhide:no;\tmso-style-qformat:yes;\tmso-style-parent:\"\";\tmargin:0in;\tmargin-bottom:.0001pt;\tmso-pagination:widow-orphan;\tfont-size:12.0pt;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}.MsoChpDefault\t{mso-style-type:export-only;\tmso-default-props:yes;\tfont-family:Calibri;\tmso-ascii-font-family:Calibri;\tmso-ascii-theme-font:minor-latin;\tmso-fareast-font-family:Calibri;\tmso-fareast-theme-font:minor-latin;\tmso-hansi-font-family:Calibri;\tmso-hansi-theme-font:minor-latin;\tmso-bidi-font-family:\"Times New Roman\";\tmso-bidi-theme-font:minor-bidi;}@page WordSection1\t{size:8.5in 11.0in;\tmargin:1.0in 1.0in 1.0in 1.0in;\tmso-header-margin:.5in;\tmso-footer-margin:.5in;\tmso-paper-source:0;}div.WordSection1\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\"In their heyday, drive-in movie theaters were consideredentertainment venues for mostly less-discriminating filmgoers, and the moviesthey showed supposedly reflected that. Film historian Lisanti (\u003ci\u003eFantasyFemmes of Sixties Cinema\u003c\/i\u003e) highlights some of the films and actors who appearedin what he considers to have been typical drive-in fare. Among such were theso-called beach movies, spaghetti Westerns, and the youth-oriented “B” filmsprevalent in the 1950s and a decade or so afterward. He has interviewed severalactors who appeared in those types of movies, most of whom left little or nomark on Hollywood. They include Mimsy Farmer, ­Arlene Charles, Diane Bond,Steven Rogers, and Jan Watson, who reminisce about their experiences withdirectors, costars, and working conditions. The author also provides backgroundinformation about many of the films. Obviously, what constituted a drive-inmovie is very much a subjective choice on the author’s part, and some readersmay disagree on what is included. VERDICT With this book, there issome fun in reading about long-forgotten performers and films. The rubric ofdrive-in movies is seemingly a convenient way of gathering all this together.Recommended for film lovers everywhere.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e- Library Journal\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cbr\u003e\u003cspan style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\"Beachgoers, bikers, spies, druggies, musicians, and society’s shifting sexual mores were some of the more popular elements of 1960s drive-in theater fare, and this wonderfully eclectic, 314-page paperback contains interviews with the sexy actresses (as well as a couple actors) who made these films so damned memorable. Then it’s all tied together by author Tom Lisanti’s thoroughly-researched writing and obvious appreciation of that distinctive cinematic era. Following a lengthy chapter about Elvis Presley’s film career (in particular, his flaccid, mid-‘60s MGM musical comedies), along with comments from co-stars like Shelley Fabares, Gail Gerber, and Nancy Czar, there are career profiles and lively conversations with Bobbi Shaw (Pajama Party), Arlene Charles (Dr. Goldfood and the Bikini Machine), Diane Bond (In Like Flint), Jan Watson (a repeat “Slaygirl” in Dean Martin’s Matt Helm films), spaghetti Western alumnus Nicoletta Machiavelli (Navajo Joe), as well as one of my personal drive-in favorites, Mimsy Farmer (Riot on Sunset Strip). \"\u003c\/span\u003e\u003c\/span\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 14.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\u003cbr\u003e- Shock Cinema\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"TALKING SIXTIES DRIVE-IN MOVIES by Tom Lisanti (BearManor Media; www.bearmanormedia.com; $24.95). Beachgoers, bikers, spies, druggies, musicians, and society's shifting sexual mores were some of the more popular elements of 1960s drive-in theater fare, and this wonderfully eclectic, 314-page paperback contains interviews with the sexy actresses (as well as a couple actors) who made these films so damned memorable. Then it's all tied together by author Tom Lisanti's thoroughly-researched writing and obvious appreciation of that distinctive cinematic era. Following a lengthy chapter about Elvis Presley's film career (in particular, his flaccid, mid-'60s MGM musical-comedies), along with comments from co-stars like Shelley Fabares, Gail Gerber and Nancy Czar, there are career-profiles and lively conversations with Bobbi Shaw (PAJAMA PARTY), Arlene Charles (DR. GOLDFOOT AND THE BIKINI MACHINE), Diana Bond (IN LIKE FLINT), Jan Watson (a repeat \"Slaygirl\" in Dean Martin's Matt Helm films), Steven Rogers (THE GIRLS ON THE BEACH), spaghetti western alumnus Nicoletta Machiavelli (NAVAJO JOE), as well as one of my personal drive-in favorites, Mimsy Farmer (RIOT ON SUNSET STRIP). Highlights include actress Maggie Thrett and screenwriter Stephen Yata on AIP's box-office smash THREE IN THE ATTIC, Christopher Riordan recalls his work on films such as BEYOND THE VALLEY OF THE DOLLS and THE GAY DECEIVERS, plus Valerie Starrett discusses scripting and starring in the enjoyable biker romp RUN, ANGEL, RUN. Packed with entertaining memories, it's a nostalgic blast for longtime fans of old-school cult and exploitation cinema.\"\u003c\/p\u003e\n\u003cp\u003e-- Shock Cinema\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 14.0pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; margin-bottom: .0001pt; font-variant-caps: normal; orphans: auto; text-align: start; widows: auto; -webkit-text-stroke-width: 0px; word-spacing: 0px;\"\u003e \u003c\/p\u003e\n\u003ciframe height=\"315\" width=\"560\" src=\"https:\/\/www.youtube.com\/embed\/qj3lqUeqjGw\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; encrypted-media\"\u003e\u003c\/iframe\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222449750078,"sku":"til1787291541974","price":18.46,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/talking-sixties-drive-in-movies-softcover-edition-by-tom-lisanti_1.jpg?v=1787291547"},{"product_id":"london-after-midnight-a-new-reconstruction-based-on-contemporary-sources-softcover-edition-by-thomas","title":"LONDON AFTER MIDNIGHT: A NEW RECONSTRUCTION BASED ON CONTEMPORARY SOURCES (SOFTCOVER EDITION) by Thomas Mann","description":"\u003cp\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003cstyle\u003e\n\u003c!--\n \/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\n\u003c\/style\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eTod Browning’s\r\nsilent movie horror film, \u003ci\u003eLondon After Midnight\u003c\/i\u003e (1927) starring Lon\r\nChaney, Marceline Day, Conrad Nagel, Henry B. Walthall, and Polly Moran, has\r\nintrigued silent movie fans for decades. Now considered a lost film, surviving\r\nproduction stills, a Photoplay Edition novel, scripts, and other memorabilia\r\ngive some feel for the actual film, but their varying plot gaps, anomalies, and\r\ninconsistencies leave viewers wondering how the actual film unfolded . . .\r\nuntil now.\u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eAuthor Thomas\r\nMann offers a fascinating reconstruction based on his transcription of a\r\nrediscovered 11,000-word fictionization first published in \u003ci\u003eBoy’s Cinema\u003c\/i\u003e\r\n(1928) that may resolve the conflicts between previous versions. His detailed\r\ncomparison of all surviving sources sheds new light on the discovery of a\r\nsecond murder victim, a plot element not in the final film; Lon Chaney’s two\r\ndifferent makeups in playing detective Edward C. Burke; Henry Walthall as Sir\r\nJames Hamlin holding two guns rather than one in the scene in which his\r\ncharacter, under hypnosis, re-enacts a crime.\u003c\/span\u003e\u003cspan style=\"font-family:\nArial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eThe last known\r\nfilm print is believed to have been destroyed in a 1967 MGM vault fire, but you\r\ncan now take a front row seat into the haunted mansion filled with vampires,\r\ncobwebs, bats, and “The Man of a Thousand Faces.”  \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e \u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003eAbout the\r\nauthor: Thomas Mann is an independent scholar living in Washington, DC. \r\nHe spent more than three decades as a general reference librarian at the\r\nLibrary of Congress. He is the author of \u003ci\u003eThe Oxford Guide to Library\r\nResearch\u003c\/i\u003e (Oxford University Press, 2015) and of \u003ci\u003eHorror \u0026amp; Mystery\r\nPhotoplay Editions and Magazine Fictionizations\u003c\/i\u003e (McFarland, 2004; vol. II,\r\nBearManor Media, 2016).\u003c\/span\u003e\u003c\/p\u003e\u003chr\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e\"It\r\nis an intriguing work of literary-filmic archeology. In \u003cspan style=\"font-style: italic;\"\u003eLondon After Midnight:\r\nA New Reconstruction Based on Contemporary Sources\u003c\/span\u003e, Mann offers a reconstruction\r\nbased on his transcription of a rediscovered 11,000-word fictionalization of\r\nthe film published in \u003cspan style=\"font-style: italic;\"\u003eBoy’s Cinema\u003c\/span\u003e, an English publication, a year after the\r\nfilm was released. Mann’s detailed comparison of surviving sources sheds new\r\nlight on various “unsettling” aspects of the film, like the discovery of a\r\nsecond murder victim, a plot element not in the final film. Mann’s\r\ntranscription of the story is included in the new book.\"\u003c\/span\u003e\u003cspan style=\"font-family:Arial;mso-fareast-font-family:PMingLiU\"\u003e\u003cbr\u003e\r\n\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e-\r\nThomas Gladysz, The Huffington Post\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003chr\u003e\u003cp class=\"MsoNormal\"\u003eHow may the plot of a lost film be ascertained, when the existing \r\nwritten sources conflict?  That’s the conundrum addressed in London \r\nAfter Midnight:  A New Reconstruction Based on Contemporary \r\nSources—focusing on the much sought-after Lon Chaney vehicle directed by\r\n Tod Browning.  No one could be more qualified to explore this question \r\nthan Library of Congress scholar Thomas Mann, author of two volumes \r\nstudying tie-in books and magazine fictionizations in the horror and \r\nmystery genre, Horror \u0026amp; Mystery Photoplay Editions and Magazine \r\nFictionizations, Vol. 1 (2004), Vol. II (2016) – and also The Oxford \r\nGuide to Library Research, now in its fourth edition.\u003cbr\u003e\u003cbr\u003eThe last \r\nprint of London After Midnight was destroyed in the early 1960s.  The \r\ninterest in London After Midnight remain so great, over fifty years \r\nafter it was last seen, that TCM even attempted a reconstruction using \r\ncreatively photographed stills.\u003cbr\u003e\u003cbr\u003eThe core of the problem, as Mann \r\ndelineates, is that surviving scripts, reviews, summaries of the \r\nplot--even published versions---all not only differ, but are \r\nincompatible.  The TCM reconstruction of London After Midnight used one \r\nversion, and almost certainly differed substantially in its outline from\r\n the original.\u003cbr\u003e\u003cbr\u003eWhat makes this volume essential for any Chaney, \r\nBrowning, genre enthusiast, or student of silent film, is that Mann \r\nintroduces into new evidence:  a magazine fictionization of London After\r\n Midnight hitherto buried in the pages of unindexed magazines.  This \r\nfictionization (itself some twenty pages of this book) was in a regular \r\nmagazine that provided the “stories” of movies for fans of the day, and \r\nprovides the most coherent outline of the plot that has survived.  \r\nPlacing the magazine versions along with the plot outlines from other \r\nsources provides an important example of how lost films may be studied.\u003cbr\u003e\u003cbr\u003eLondon\r\n After Midnight will likely remain a lost film, but with this book the \r\nreader is closer than ever before to the experience of seeing the film, \r\nand Mann has provided a model of scholarship in using such primary \r\nmaterials, often contradictory, to reconstruct a major instance of movie\r\n going from long ago.  The concept of silent film restorations has \r\nhitherto focused on visual materials; in this volume, Mann enlarges the \r\nscope of that endeavor to written materials and, most importantly, how \r\nthey may be utilized even when they are problematic and conflicting. \u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e-- Brian Taves\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003chr\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cspan style='font-family:Arial;mso-fareast-font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family:Arial\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"mso-pagination:none;mso-layout-grid-align:none;\ntext-autospace:none\"\u003e\u003cspan style='font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003cspan style=\"font-family:Arial\"\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family:Arial\"\u003e \u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222449782846,"sku":"dlx1787291541949","price":13.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/london-after-midnight-a-new-reconstruction-based-on-contemporary-sources-softcov_1.jpg?v=1787291547"},{"product_id":"before-the-camera-rolled-softcover-edition-by-jason-norman","title":"BEFORE THE CAMERA ROLLED (SOFTCOVER EDITION) by Jason Norman","description":"\u003cp\u003e\u003cstrong\u003eISBN  9781629331225\u003c\/strong\u003e\u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 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1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n \/* List Definitions *\/\n@list l0\n\t{mso-list-id:118036295;\n\tmso-list-template-ids:-2060691288;}\n@list l0:level1\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:.5in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level2\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:1.0in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level3\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:1.5in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level4\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:2.0in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level5\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:2.5in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level6\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:3.0in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level7\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:3.5in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level8\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:4.0in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\n@list l0:level9\n\t{mso-level-number-format:bullet;\n\tmso-level-text:;\n\tmso-level-tab-stop:4.5in;\n\tmso-level-number-position:left;\n\ttext-indent:-.25in;\n\tmso-ansi-font-size:10.0pt;\n\tfont-family:Symbol;}\nol\n\t{margin-bottom:0in;}\nul\n\t{margin-bottom:0in;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; color: black;\"\u003eThe road from entertained to entertainer may seem longer than the yellow brick road to Oz, but finally the secret steps have been revealed. Go from behind a camera to in front of a camera by following such inspiring, award-winning coaches as Mike Starr, Kathryn Joosten, Will Sampson, Richard Dreyfuss, Ernie Hudson, Irma Hall, James Gammon, Bill Erwin, Erick Avari, Lee Garlington, Lindsay Hollister, Richard Thomas, and Beverley Todd.\u003c\/span\u003e\u003cspan style=\"font-family: Arial; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: Arial; color: black;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; color: black;\"\u003eFrom closed doors to klieg lights, move smoothly into the toughest business while you are still far from theaters and stages. Learn how to practice at home, sharpen your technique, and get your name before the public open. Casting directors will soon love your audition.\u003c\/span\u003e\u003cspan style=\"font-family: Arial; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: Arial; color: black;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cul style=\"margin-top: 0in;\" type=\"disc\"\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003eUncover the mystery of improvisation\u003c\/span\u003e\u003cspan style=\"font-family: Arial; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003eMaster body doubling, voice work, and stunting\u003c\/span\u003e\u003cspan style=\"font-family: Arial; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003eLearn what to do before, during, and after auditions\u003c\/span\u003e\u003cspan style=\"font-family: Arial; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003eStudy how favorite performers transform themselves into characters\u003c\/span\u003e\u003cspan style=\"font-family: Arial; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003eAcquire tips on preparing for roles\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"color: black; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Arial; mso-fareast-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; color: black;\"\u003eForeword by Mike Starr. Illustrated with over 100 photos. Index\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; color: black;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Arial; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; color: black;\"\u003eAbout the author: Jason Norman is the author of \u003ci\u003eBehind the Screams.\u003c\/i\u003e He has won two Virginia Press Association awards and also is a college English professor. \u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 9.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\"\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Calibri; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: Calibri; mso-bidi-font-family: Arial; color: black;\"\u003eFramed as an examination into the process that goes into becoming a successful character actor, the book kicks off on a sincere yet somewhat silly note, with several (seemingly obvious) tips for wannabe actors and brief acting-coach insights. But the \u003ci\u003ereal \u003c\/i\u003emeat of this 398-page book lies in its incredible array of interviews. First up, over 50 character actors discuss their experiences crafting one iconic role—including John Capelos (on playing \u003ci\u003eThe Breakfast Club’s\u003c\/i\u003e janitor), Dana Barron (Audrey Griswold in \u003ci\u003eNational Lampoon’s Vacation\u003c\/i\u003e), DeWayne Jessie (\u003ci\u003eAnimal House’s\u003c\/i\u003e Otis Day), John Mutuszak (Sloth in \u003ci\u003eThe Goonies\u003c\/i\u003e), Dwier Brown (Ray Kinsella’s dad in \u003ci\u003eField of Dreams\u003c\/i\u003e), and Danyi Deats (\u003ci\u003eRiver’s Edge’\u003c\/i\u003es dead girl)—followed by more general but equally absorbing career overviews and comments from 32 of the most accomplished character actors in the business, including Richard Thomas, Wendy Crewson, M. C. Gainey, Mike Starr, Irma Hall, Kurt Fuller, Erick Avari, and even Richard Dreyfuss. \"\u003c\/span\u003e\u003cspan style=\"font-size: 9.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ascii-font-family: Calibri; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: Calibri; mso-bidi-font-family: Arial; color: black;\"\u003e- Shock Cinema\u003c\/span\u003e\u003cspan style=\"font-size: 9.0pt; font-family: Helvetica; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":43222449815614,"sku":"cux1787291542035","price":17.71,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/0075\/8846\/files\/before-the-camera-rolled-softcover-edition-by-jason-norman_1.jpg?v=1787291547"}],"url":"https:\/\/www.dovewella.com\/collections\/film.oembed","provider":"My Store","version":"1.0","type":"link"}