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The Criticwire Survey: A Film Book Gift Guide

The Criticwire Survey: A Film Book Gift Guide

Every week, Criticwire asks film critics a question and brings you their responses in The Criticwire Survey. We also ask each member of the poll to pick the best film currently playing in theaters. The most popular choices can be found at the bottom of this post. But first, this week’s question:

Q: ‘Tis the season for gift giving. If someone’s looking to buy a film-related book for the cinephile in their life this holiday season, what would you recommend?

The critics’ answers:

Alan ZilbermanBrightest Young Things/Tiny Mix Tapes:

“I would recommend ‘Pictures at a Revolution‘ by Mark Harris. It’s a great mix of history, anecdotes, and film analysis.”

Mark YoungSound on Sight/New York Movie Klub:

“I am atrocious at giving gifts. I’m the guy who would give one of the volumes of Roger Ebert’s ‘The Great Movies,’ except the recipient, being a cinephile, probably already owns them all.”

Andrew WelchAdventures in Cinema:

“My pick’s divided between ‘Pictures at a Revolution‘ by Mark Harris and ‘The Dame in the Kimono‘ by Leonard J. Leff and Jerold L. Simmons. You can’t go wrong with either.”

Tom WardakGet Reel:

“It has to be ‘Film Art: An Introduction‘ by the dynamic duo David Bordwell and Kristin Thompson. It’s essentially a complete film studies course condensed into a couple hundred pages, pitched just at the right level for someone with an abiding love of cinema who may not know the terminology or necessarily recognize the various aspects that combine to make cinematic art. It’s super easy to read, without a hint of the kind of pretentious pontificating you tend to see in film theory texts, and there are lots of pretty pictures to boot. It changed the way I, and countless others, look at film.”

Ignatiy VishnevetskyMUBI:

“To any person with an interest in film, I’d recommend: Francois Truffaut’s ‘Hitchcock,’ the definitive director interview book; Andre Bazin’s ‘What is Cinema?,’ the best possible introduction to film theory and criticism (Hugh Gray’s translation is the easiest to come by; gift-givers with deep pockets should try for Timothy Barnard’s new and more accurate translation, available from Canadian publisher caboose); ‘Notes on the Cinematographer,’ Robert Bresson’s collection of filmmaking aphorisms and proverbs (a great ‘budget buy’); ‘Farber on Film: The Collected Film Writings of Manny Farber,’ the title of which is self-explanatory; Tom Milne’s ‘Godard on Godard,’ the title of which is totally misleading, since — being a collection of essays Godard wrote as a critic — it features Godard on everyone but Godard; and at least one book by Jonathan Rosenbaum (his latest, ‘Goodbye Cinema, Hello Cinephilia‘ is as good a place to start as any). However, assuming this cinephile has already boned up on these classics, I’d recommend getting him or her Dave Kehr’s ‘When Movies Mattered: Reviews from a Transformative Decade,’ which came out last year. Kehr is one of the five or so greatest film critics this country has produced, a master of concise critical prose, and this is the first collection of his writings ever published. If this cinephile likes to talk about movies within a cultural context, then get them either of J. Hoberman’s new books, ‘Film After Film‘ (which focuses on 21st century cinema) or ‘Army of Phantoms‘ (which is about cinema’s relationship to the Cold War); Hoberman’s book about the 1960s, ‘The Dream Life,’ is also an essential read. If this cinephile also happens to be a James Gray fan (as cinephiles tend to be), I’d spring for Jordan Minzter’s ‘Conversations with James Gray.’ It is hands down the best book devoted to a single filmmaker released in the last decade — and it happens to be quite pretty to look at, too.”

Anne-Katrin TitzeEye For Film:

“In 1938, Katharine Hepburn was declared box office poison, and one can’t help but wonder how much the Hollywood publicity machinery had to do with it. The image of a strong, independent woman, wearing pants, was not something promoted in a country still suffering from high unemployment rates. ‘Katharine Hepburn: Rebel Chic‘ combines fabulous rare photographs of Hepburn’s style on and off camera and explores the star’s legacy in five thought provoking essays. Hepburn had a keen eye for style, worked closely with her films’ costume designers, and knew how to carefully subvert gender coding. Her knowledge of fashion in no way contradicts her desire for comfort and freedom, not only in regards to sartorial expression. And she loved her clothes. It takes a lot of effort to look as if you didn’t make any effort, Katharine Hepburn once said to Greta Garbo, another movie star who managed to overcome Hollywood stereotypes of her time with distinct personal style. Authenticity takes a tremendous amount of work. ‘One does not design for Miss Hepburn, one designs with her,’ commented Edith Head.”

Luke Y. ThompsonNerdist:

“‘Joe Bob Goes to the Drive-In‘ by Joe Bob Briggs. Because John Bloom, writing from the heart via a fictional persona, taught me that criticism didn’t have to be what everybody else was telling me it was.”

R. Emmet SweeneyMovie Morlocks:

“I’m assuming this hypothetical cinephile already owns all the essential books, so I’m going to recommend a fascinating history of those inessential film workers, the extras. Anthony Slide’s ‘Hollywood Unknowns‘ digs up fascinating details of that tenuous gig, from the catch-as-catch-can days of early Hollywood hiring through the frustrating bureaucracy of Central Casting. Indelible personalities emerge through Slide’s voluminous research, including Franco ‘Frenchie’ Corsaro, a 1930s extra who also acted as a pimp, culling starlets for studio bigwigs. For the Henry Fonda fan, Devin McKinney’s impassioned biography, ‘The Man Who Saw a Ghost,’ is another ideal stocking stuffer.”

Andreas StoehrPussy Goes Grrr:

“I’d recommend one of my new favorite volumes of film scholarship, J. Hoberman’s ‘An Army of Phantoms.’ It’s a dense history of postwar Hollywood, juxtaposing movies’ ideologies with the national politics that informed them, yet it’s also a fun, quick read. Between the pop of Hoberman’s prose and the thrill of his subject matter, I can’t think of a book I’d rather give or receive. (Honorable mention goes to Mark Harris’s ‘Pictures at a Revolution,’ another ideal stocking stuffer for lovers of film history.)”

Josh SpiegelMousterpiece Cinema/Sound on Sight:

“Maybe it’s clichéd, but I’ll stick with a tried-and-true favorite: ‘The Great Movies‘ trilogy by Roger Ebert. (Sure, it’s more than one book, but any cinephile will be thankful for the present.) Ebert is one of the most influential figures in modern film criticism, someone whose broad tastes coupled with insightful writing has always held great appeal to me. It’s through the Great Movies series, which originated on his website, that I was first aware of films like ‘Peeping Tom’ or ‘Le Samourai.’ Reading the first book when it came out in 2003, as I began my sophomore year in college, was an education unto itself. And Ebert’s appreciation of classics I’d seen countless times already, such as ‘Singin’ In The Rain’ and ‘Fargo,’ was then and is still like a verbal bowl of chicken soup, a welcome comfort and reminder of the power of cinema.”

Michael SicinskiCinema Scope:

“I was very impressed with Douglas Crimp’s new book on Andy Warhol’s cinema, ‘Our Kind of Movie.’ In addition to providing his customarily sharp cultural-studies analyses on the work at hand, placing Warhol and his films in the broader context of queer politics and representation, Crimp also offers exceptional close readings of films that have been taken for granted for too long. That is, we think we knew these films, even if we hadn’t even seen them. Crimp corrects that error, and then some.”

Jason ShawhanNashville Scene/Interface 2037:

“‘Men, Women, and Chainsaws: Gender in Modern Horror Film,’ by Carol J. Clover. ‘Flicker‘ by Theodore Roszak. ‘Videodrome: Studies in the Horror Film‘ by Tim Lucas.”

David RoarkPaste/Christianity Today:

“Novelist and film critic Jeffrey Overstreet’s ‘Through a Screen Darkly,’ a book that explores the inseparable relationship between faith and film, equating a trip to the movies with spiritual experience. Given the format and Overstreet’s unique, conversational voice, the book reads less like a, well, book and more like a notebook full of insightful and exciting meditations on the art of film.”

Jordan RaupThe Film Stage:

“‘The Men Who Would Be King: An Almost Epic Tale of Moguls, Movies, and a Company Called DreamWorks‘ — a fascinating roadmap inside one Hollywood studio and a must-read for any Spielberg fan.”

Matt PriggePhiladelphia Weekly:

“Depending on who it is, I would buy them Steven Soderbergh’s ‘Getting Away With It: Or, The Further Adventures of the Luckiest Bastard You Ever Saw.’ Half of it is an extensive, in-depth series of interviews with the great, forever underrated Richard Lester — a director who’s modest to a fault but who nonetheless more or less opens up for the Lester fanboy Soderbergh. The other half — though the two halves are spliced together, alternating every couple pages — is Soderbergh’s diaries from 1995 to 1997, roughly from after ‘The Underneath’ to him prepping ‘Out of Sight.’ This is his Hollywood dropout period, which produced the incredible ‘Schizopolis,’ and also when he worked on a series of scripts and rewrites, including touch-ups on ‘Mimic’ and a sadly failed project with Henry Selick. As we know, he would soon regain his mojo and become absurdly prolific and energized, before burning out on film entirely (allegedly). But this book allows you access to a frail, wounded psyche, mired in self-doubt and mordant self-hatred. His deadpan sense of humor has never been more evident, although it’s usually turned on himself as he beats himself up over missing deadlines, distribution headaches and writer’s block, all the while wasting days and nursing romantic failures. Reading it, one can either wallow in its weirdly amusing misery or realize that even the best of us go through major down periods.”

Pat PaduaDCist/Blogcritics:

“Amos Vogel’s ‘Film as a Subversive Art.'”

Rudie ObiasShockYa.com:

“I’m a big fan of Nathan Rabin’s ‘My Year Of Flops.’ Rabin’s book teaches any cinephile a valuable lesson; to give movies a second chance. If you didn’t like it the first time, maybe re-watching it with some distance can make you appreciate what the filmmaker was trying to get across.”

Tony NunesDreaming Genius/Sound on Sight:

“For me, Roger Ebert’s ‘Great Movies‘ collections, all three volumes, not only contain some of the best film writing out there, but also succeed at introducing a slew of classic and obscure titles you’ll want to re-watch or discover for the first time. Together, the three volumes out now (more to come soon I hope) act as a great syllabus for any casual or serious lover of film.”

Farran Smith NehmeSelf-Styled Siren:

“Every cinephile should own Otto Friedrich’s ‘City of Nets: A Portrait of Hollywood in the 1940s,’ still gloriously in print after 26 years. The studios and the stars are here, but so are the labor disputes, riots, gangsters and other denizens of Hollywood high and low. The stories range from hilarious (I’m particularly fond of Walt Disney viewing the rushes for ‘Fantasia’ and observing, “Gee, this’ll make Beethoven”) to desperately sad, such as the fates of Canada Lee and John Garfield. Friedrich’s chapter on HUAC and the Hollywood 10 is the best short summary of those complex events I’ve read. And his research means that for once, when you read an anecdote, you know the author checked the source, and you can flip to the back and do the same. It’s a book that enriches your understanding of the era, and therefore the movies themselves.”

Scott MeslowThe Week/The Atlantic:

“A few months ago, I finally got around to reading Julie Salamon’s ‘The Devil’s Candy: Anatomy of a Hollywood Fiasco,’ which was given to me by a fellow cinephile last holiday season. The book is a meticulous chronicle of the hundreds of tiny, bad decisions that led to Brian De Palma’s disastrous adaptation of ‘The Bonfire of the Vanities.’ When De Palma agreed to give Salamon virtually unlimited access to the production for her book, it was widely expected that ‘The Bonfire of the Vanities’ would turn out be a critical darling and Oscar contender. Unlike the dozens of lesser books that take lazy shots at Hollywood’s biggest flops, Salamon brings the objectivity and thoroughness of a serious journalist to ‘The Devil’s Candy.’ She spent time with virtually everyone on set: PAs and assistants, studio executives, costumers, producers, De Palma himself, and stars like Tom Hanks, Melanie Griffith, and Bruce Willis (who comes off very poorly, and had scathing things to say about it). For anyone who’s ever wondered how studios, which are packed with smart people and money, can routinely end up producing such disappointing films, it’s a fascinating and essential read.”

Mike McGranaghanThe Aisle Seat:

“Because I love reading about movies almost as much as I love watching them, I literally had about fifty different answers for this question. But I’ll go with ‘Impossibly Funky‘ by Mike White. This book is a collection of articles from ‘Cashiers Du Cinemart,’ one of the greatest film ‘zines to ever exist, along with, as the cover promises, ‘13.2% all new stuff.’ Inside its pages, you’ll find pieces on how White brought to light the similarities between Quentin Tarantino’s ‘Reservoir Dogs’ and Ringo Lam’s ‘City on Fire,’ interviews with Bruce Campbell and Keith Gordon, and much more. There’s also an entire section devoted to ‘Black Shampoo,’ the most amazing blaxploitation movie you will ever see. Genre films have never been covered in such loving, admiring detail. It’s a terrific read. Because I am a typically underpaid film critic who could desperately use a few extra bucks in his pocket this holiday season, I’d probably also recommend my own book, a collection of movie-related essays called ‘Straight-Up Blatant: Musings From The Aisle Seat.’ Yes, recommending my own stuff would make me guilty of the kind of obnoxious self-promotion usually reserved for the likes of people named Kevin Smith, but hey, a brother’s gotta eat, right?”

Calum MarshSlant Magazine:

“I always tell film fans the same thing: invest in Richard Brody’s ‘Everything Is Cinema,’ a biography about ‘the working life of Jean-Luc Godard’ and an essential read for cinephiles of every stripe. Its focus on shifting the canon toward Godard’s oft-overlooked later works is basically the lord’s work as far as I’m concerned, and the more people who read it the better. It’s rigorously researched, incredibly informative, and, best of all, a supremely entertaining read.”

Joey MagidsonThe Awards Circuit:

“I’d actually recommend ‘Rebels on the Backlot.’ There are certainly better titles available, but it was the first film-related book that I ever read and it started my consumption in a big way. ‘Tales from Development Hell’ is a close second though.”

Adam LowesHey U Guys:

“Stephen Lowenstein’s book ‘My First Movie‘ is a wonderful read, and would make for an equally fab present. It’s comprised of interviews with twenty renowned directors, who all recount the trials and tribulations they encountered whilst making their debut feature. Some tales reveal a refreshingly honest depiction of the process (Steve Buscemi talks about locking himself in a toilet to have a good ol’ sob during ‘Trees Lounge’) and all offer fascinating tidbits and helpful do’s and don’t for any attempting this mammoth task.”

John LichmanFreelance:

“‘The Psychotronic Video Guide‘ by Michael J. Whedon. It’s nearly 16-years old, but this massive tome is essential if you’re curious about monsters, westerns, weirdness and more in a pre-Wikipedia or Netflix era. It was like a literal bible to me when I was younger and skulking around Potomac Videos and Blockbusters in Washington, D.C. as I searched high and low for ‘The Great Silence,’ Troma films, and other instances of the weird. ‘The Guide’ still stands up, but remains frozen with features from before 1996 like the VHS-equivalent of the Necronomicon. Sure, Wikipedia has an entry these days for ‘Psychotronic’ and can probably be updated on a whim. But this book is like a list of myths for films that were hard to even find on VHS, let alone scanned into a massive VOD database.”

Christy LemireAssociated Press:

“I’d say Robert Evans’ autobiography ‘The Kid Stays in the Picture.’ It is so juicy, and such a hoot. Totally escapist fun that harkens to a very different time in Hollywood. Then recommend that the recipient watch the documentary based on the book, which Evans himself narrates as only he can, baby.”

Will LeitchDeadspin:

“David Thomson’s ‘The New Biographical Dictionary of Film.’ A reference book I find myself wanting to read front to back like a novel. Even when he’s wrong — and he is so often wrong — compulsively, dangerously readable.”

Josh LarsenLarsenOnFilm.com/Filmspotting:

“‘American Movie Critics: An Anthology From the Silents Until Now‘ offers a humbling historical overview of the shadows we’re all working under. Kudos to Phillip Lopate for putting together such a comprehensive collection.”

Peter LabuzaLabuzaMovies.com/The Cinephiliacs:

“If your cinephile is truly hardcore, one of the most fascinating texts on how we engage with film and film history is David Bordwell’s ‘On the History of Film Style.’ Bordwell’s book is not a history of film, but instead a historiography of how our perception of film history has changed — he starts with the elements that led to the Basic Story, how that was later challenged by various film theorists, the elevation of deep focus and ‘Citizen Kane’ during the Cashier moment, and how later critics came to challenge the various elements of the canon. It’s easy to see the history of cinema as a fixed, rigorous teleology, but Bordwell shows how various moments in time have affected what is important in that teleology. Hopefully, those who read his enthralling book will see how our own moment in history is giving us yet another imperfect view of cinematic history.”

Gary KramerGay City News:

“‘The Dangerous Animals Club‘ by Stephen Tobolowsky. This memorable character actor has written a memoir that cross-pollinates hilarious anecdotes about life on the set with smart life lessons. It is a must for any actor who has worked with Tobolosky, anyone who has seen one of the actor’s films, or anyone who likes a great books, so that means pretty much everyone.”

Glenn KennyMSN Movies/Some Came Running:

“I wish you’d have been more specific about what the cinephile in the gift-giver’s life already had in his or her library. Assuming it’s a neophyte cinephile, and the aim of the cinephilia largely of a hobbyist nature, I’d recommend Francois Truffaut’s ‘Hitchcock,’ the revised edition. Aside from being terrifically entertaining, it’s about four or five excellent film books in one. The essay materials from Truffaut, writing as a scrupulous critic-turned-filmmaker and laying most of his cards on the table, are superb criticism, both relative to the specific topics at hand and in a more general sense of representing a critical ethic. The interviews are thorough, probing, giving valuable insights into the aesthetics and personalities of both the participants, and the portrait of a career the book eventually paints is admirable and kind of daunting. And the nuts-and-bolts filmmaking talk is incredibly enlightening. And although the illustrations are all black and white, they’re both exciting and, literally illustrative. Assuming it’s a neophyte cinephile aspiring to become some kind of movie ‘critic,’ then the gift would be Northrop Frye’s ‘Anatomy Of Criticism,’ in the hope that it would frustrate, confuse, infuriate, and ultimately discourage the giftee.”

John Keefer51Deep.com:

“‘Sculpting in Time,’ ‘Film: An Introduction,’ or ‘Icons of Grief.’ For the Calvinist cinephile I’d recommend ‘Transcendental Style In Film,’ though also I’d recommend all of them since I just did.”

Drew HuntChicago Reader/The Talking Pictures:

“Kind of a tough question, because any self-respecting cinephile already has the essentials. So I’ll go with ‘Joseph Losey: A Revenge On Life,’ by David Caute, which is both an acutely detailed biography and thorough critical examination of a truly great filmmaker most people still don’t give a fair shake.”

Jordan HoffmanScreenCrush:

“As a narcissist, clearly the best film book for someone to read — particularly a neophyte — would be the first hardcore wonky cinephile text I read as a young ‘un, Robert Philip Kolker’s ‘A Cinema of Loneliness.’ This book of essays concerning the work of Arthur Penn, Stanley Kubrick, Martin Scorsese, Steven Spielberg and Robert Altman really got my motor running and prepped me for four ivory tower years at NYU’s Tisch School of the Arts. I read the original pressing from 1988 and I see there have been new editions as recently as 2011 that include sections of David Fincher (pff!) and Judd Apatow (double pff!). I endorse searching for the old one with the red cover and the picture of Travis Bickle to emulate me as much as possible. Honorary mention to Sidney Lumet’s ‘Making Movies’ (brilliant, fascinating, and fun) and Stuart Klawans’ collected reviews from The Nation magazine ‘Left in the Dark.’ I love Kalwans’ writing and I love how he integrates his publication’s crusade for social justice into his pieces in organic ways. And Hoberman’s ‘The Dream Life.’ Dammit, you asked for one and I gave you four. I’m sorry, you touched a nerve this week.”

Eric HavensDownright Creepy:

“I’d recommend the first film related book that I ever read, ‘Hitchcock‘ by Francois Truffaut. Consisting of Alfred Hitchcock interviews conducted by Francois Truffaut, it’s like eavesdropping on two legendary geniuses discussing their craft, but without any worry of a restraining order. It’s a win/win.”

Melissa HansonCinemit:

“‘Hey! It’s That Guy!‘ These actors are so good at what they do, they hardly ever get the acclaim they deserve. Anyone who loves movie will enjoy flipping through and finding out the names and histories of these beloved actors.”

Steve GreeneCriticwire:

“Not sure if this counts, but if you happen to know the person’s favorite movie, I’d recommend buying them the screenplay, if it’s been published at all. They’re usually not the most elaborate publications, but seeing the film in an elemental state certainly provides a fresh perspective. Every once in a while, you can find a version with a director/writer Q&A, a piece of insightful criticism, or even a bit of source material. Sure, some might be posted online, but gift-wrapping a URL might prove challenging.”

Jason GorberTwitch/Filmfest.ca:

“The Taschen ‘Stanley Kubrick Archives‘ is a thing to behold — unlike the ridiculous/awesome mega set for Napoleon which ran well over $1000, the original ‘deluxe’ version of the book ran ‘only’ a few hundred, and came with a slew of goodies including a strip of several 70mm frames from ‘2001.’ The non-deluxe version is much less expensive, can be had readily.”

Kenji FujishimaThe House Next Door:

“Though I may not be the most ardent fan of the films of late veteran filmmaker Sidney Lumet, he did at least offer the world one of the best books about filmmaking I’ve read, his 1996 volume ‘Making Movies.’ A cinephile may love movies, but Lumet will add an extra dimension to one’s appreciation of cinema by bringing the reader, with wit, insight, and brutal honesty, into the world of the much-revered (not to mention much-mythologized) film director. Granted, we may only get the inner workings of the mind of a particular director, but rare is the director that is as articulate about his methods and thought processes as Lumet is. Consider this, then, a starting point for wider explorations into the art and business of moviemaking itself — and surely that is something a passionate, curious cinephile can appreciate.”

Sam FragosoDuke & The Movies:

“‘Secret Lives of Great Filmmakers‘ is an incredibly enjoyable page-turner that provides a brief foray into the madness of some of our most revered, iconic, and controversial directors. From Chaplin to Fellini to Godard to Tarantino, author Robert Schankenberg leaves no auteur with a bag of secrets, exploits, and bizarre fetishes unscathed.”

Mario Alegre FemeníasPrimera Hora:

“I’m only halfway through it, but I can easily recommend Sidney Lumet’s ‘Making Movies.’ Part memoir, part master class from one of the greatest filmmakers, it’s a book any film lover should appreciate.”

Jessica ElgenstiernaThe Velvet Café:

“Provided the recipient of the gift is a science-fiction fan, I think ‘Future Noir: The Making of Blade Runner‘ by Paul M. Sammon is a terrific choice. At 400 pages it can afford to investigate every detail and angle of the topic and also provides insight into what a production like this looks like behind the scenes.”

David EhrlichMovies.com:

“The first book that pops to mind in this scenario (and many others) is Richard Brody’s ‘Everything is Cinema: The Working Life of Jean-Luc Godard.’ Brody’s insight to Godard’s work is uniquely illuminating, and it’s all wrapped inside a rich and readable biography. A great book to buy, as methinks it’s too valuable a resource to lend. Oh, and in the unlikely event that your targeted cinephile has seen Godard’s ‘King Lear,’ this book is less of a suggestion than it is a prescription.”

Alonso DuraldeTheWrap/What The Flick?!:

“It’s totally tacky to self-promote, but what the heck: This holiday season, why not get the film lover in your life ‘Have Yourself a Movie Little Christmas‘ by Alonso Duralde? (Yes, me.) Whether your idea of a holiday classic is ‘Miracle on 34th Street’ or ‘Eyes Wide Shut,’ Kiss Kiss Bang Bang’ or ‘Santa Claus’ — the demented 1960 Mexican classic of childhood surrealism — you’ll find something new and different for your December film-watching. It’s also the perfect holiday gift for people you barely know. (‘Look, I got you something Christmas-themed! Do whatever you want with it!’)”

Edward DouglasComing Soon:

“Since most of my readers are reading my stuff for my box office analysis and predictions, I’d go with ‘Open Wide: How Hollywood Box Office Became a National Obsession‘ by Dade Hayes and Jonathan Bing. It covers the months leading up to the 4th of July weekend where ‘Terminator 3: Rise of the Machines’ and two other movies opened, showing how the studios marketed them, when they realized that at least one of them might not do very well and how they changed their marketing plans accordingly. Very few people get to see the inner workings of a marketing campaign, and if you want to discuss box office even halfway intelligently then it’s a must-read.”

Steve DollarWall Street Journal/GreenCine Daily:

“Kier-La Janisse’s ‘House of Psychotic Women,’ of course — for the Zulawski-head in everyone’s life. Also, one hell of a memoir, in which an emotionally and physically fraught coming-of-age finds therapeutic release and psychological explication in off-the-rail genre flicks of women in crisis.”

John DeCarliFilmCapsule:

“The most eye-opening book about cinema that I’ve read recently has been Mary-Ann Doane’s ‘The Emergence of Cinematic Time.’ Doane uses the very beginning of film art and technology (Lumiere, Melies, Edison, etc.) as a case-study for the broader cultural and philosophical project of modernity that develops alongside cinema. Doane places cinema within this context of the railroad, Taylorism, and the motion studies of Marey to show how time becomes understood in a new way thanks to the technology of the late 19th century.”

Michael DaltonMovie Parliament:

“‘Easy Riders, Raging Bulls‘ by Peter Biskind. A fascinating and necessary read for any fan of films and the people behind them.”

Marc CiafardiniGoSeeTalk.com:

“For the holidays this year, I’d recommend ‘The Lost Journal of Indiana Jones‘ to any Amblin era film fan. Forget behind the scenes photos and production stories they can get anywhere else, this is what true fans of Dr. Jones will appreciate. It’s a dense, fan-pleasing, 200 page faux leather journal that reads as if Indy chronicled the films as they were happening. Scribbling/sketches, personal thoughts, cocktail napkins, airline tickets, maps, photos, even an entry from Short Round, these are just a few of the many surprises to be found. If you’re looking to get a friend/family member some film-related ‘fortune and glory’ this is it. Also, a bit of a added bonus, I’d throw a friend a copy of ‘Jurassic Park’ in their stocking. There are seemingly endless cases where an adaptation of the book never lives up to the novel. Well even though ‘Jurassic Park’ was a massive success, after all these years even Spielberg’s amazing film pales a bit when compared to Crichton’s work. So while the holiday season is thick with numerous films playing at multiplexes across the country, sometimes the best entertainment can be had on a couch in the form of this page turner that literally never gets old.”

Christopher CampbellDocBlog

“I have to go with a book about documentary. While 20 years behind the times now, the best read on the history of docs is still Eric Barnouw’s ‘Documentary: A History of the Non-Fiction Film‘ (if you’re fine with something more textbook-ish, you can later go with Betsy McClane’s recently updated ‘A New History of Documentary’). I also think Hollywood biographies and autobiographies are always a great gift. My favorites will always be the bio/autobio combo ‘Ingrid Bergman: My Story‘ and Harpo Marx’s autobiography ‘Harpo Speaks.’ Finally, I have to pimp out Karina Longworth’s new Masters of Cinema biography of George Lucas.”

Sean M. BurnsPhiladelphia Weekly/The Improper Bostonian:

“Most folks on my Christmas list will be getting Ty Burr’s ‘Gods Like Us.’ An exhaustive (and sometimes exhausting) cultural history of movie stardom from Florence Lawrence to Lindsay Lohan, it’s overflowing with anecdotes, arguments and insights about how every generation creates their own icons, and the slippery, ever-evolving definition of what it means to be a ‘star.’ This is the meatiest, most all-around entertaining film-related book I have read in years, and I’m not just saying that because my friend wrote it.”

Danny BowesTor.com/Movies By Bowes:

“It’s a little pricey, but Frederica Sagor Maas’ ‘The Shocking Miss Pilgrim‘ is a great read, and notable for the relatively unique point of view of being told from the point of view of a woman writer in the silent era. The vivid early details of New York in the 1910s and Los Angeles in the 20s (like her playing dice with the train porters on her initial trip out to L.A.) fade into more vague discontent as the author’s inability to play studio politics gradually and inexorably leads to the end of her career in Hollywood, but it’s still a lively read with original takes on various legendary movie people.”

William BibbianiCrave Online:

“Every movie fan is different. Some just want to know about the history of cinema, some want to know about how to make movies themselves, some just love one particular director, some are only interested in one facet of the craft. There are more great books about movies than I could possibly recommend in a single article, let alone a small part of one, but I’ll throw out a tome that, on reflection, no film lover should be without: ‘Understanding Comics‘ by Scott McCloud. Yes, it’s about comics, but the easy-to-read volume, told in graphic novel format, has so many corollaries to visual storytelling in the cinematic medium that I’m surprised it’s not a mainstay of film school curriculums. McCloud explains shot composition, pacing, editing, and even the philosophy of scene transitions in clear, entertaining language, and will also expand your awareness of the philosophy of art in general. Plus, because it’s only related to cinema on a perpendicular plane, it’s something that your movie-obsessed gift recipient may not even realize that they need in their library yet. If ‘Understanding Comics’ seems like too much of a stretch for you, then don’t forget about ‘Making Movies’ by Sidney Lumet, ‘All I Need to Know About Filmmaking I Learned from The Toxic Avenger’ by Lloyd Kaufman, Adam Jahnke, Trent Haaga and James Gunn, and of course the indispensable collection of interviews, ‘Hitchcock’ by Truffaut.”

Nicholas BellIONCINEMA:

“The best cinefile book gift this awards season would be pre-order them David Greven’s ‘Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin,’ available 2/2/13.”

Adam BattyHope Lies at 24 Frames Per Second:

“My stock solution for such a question is always to turn to Andrew Sarris’ ‘The American Cinema.’ It might not be the most lavish gift, but it’s the one book above all others that I’ve turned to on a regular basis since I first really got in to cinema myself. Honorable mentions go to Kevin Brownlow’s ‘The Parade’s Gone By,’ ‘The Haunted Screen’ by Lotte Eisner and ‘For Ever Godard,’ the epic tome exploring the work of Jean-Luc Godard edited by Michael Temple, James S. Williams and Michael Witt.”

Raffi AsdourianThe Film Stage:

“There is this fantastic book ‘Stanley Kubrick: Drama & Shadows‘ which showcases the director’s early photographic work for the magazine Look, before he started making films. Its basically like getting to see what a young Kubrick’s Instagram would have been like.”

Edwin ArnaudinAshvegas:

“‘Easy Riders, Raging Bulls‘ by Peter Biskind is a fascinating history of cinema’s most exciting years. The ultimate insider’s guide to the ’70s, nearly every notable player from that decade comes off as an ambitious asshole, with the exception of Steven Spielberg, who escapes as merely an occasional jerk. Thoroughly researched and told with page-turning energy, Biskind’s text is essential reading for the film fanatic on your list, whose copy is likely worn out and in need of replacing.”

The Best Movie Currently In Theaters on November 26, 2012:

The Most Popular Response: Holy Motors
Other Movies Receiving Multiple Votes: Lincoln,” Silver Linings Playbook,” “Argo,” Skyfall,” “Life of Pi,” The Master,” The Comedy.” 

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