Media noted and received.

Action Speaks Louder: Violence, Spectacle, and the American Action Movie, by Eric Lichtenfeld. Wesleyan University Press/383 pp./$24.95 (sb).

The Alchemy of Comedy ... Stupid, by Edgar Arceneaux. University of Chicago Press/96 pp./$20.00 (sb).

American Cinema of the 1980s: Themes and Variations, edited by Stephen Prince. Rutgers University Press/260 pp./$22.95 (sb).

Archive Style: Photographs & Illustrations for U.S. Surveys, 1850-1890, by Robin Kelsey. University of California Press/286 pp./$49.95 (hb).

The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle, by T.V. Reed. University of Minnesota Press/362 pp./$25.00 (sb).

Beyond Black Mountain, 1966 to 2006, by Irwin Kremen, edited by Sarah Schroth. Nasher Museum of Art at Duke University/72 pp./$24.95 (sb).

Bombay Cinema: An Archive of the City, by Ranjani Mazumdar. University of Minnesota Press/312 pp./$22.50 (sb).

Business and Legal Forms for Photographers, 3rd Edition, by Tad Crawford. Allworth Press/192 pp./$29.95 (sb).

Casque d'or, by Sarah Leahy. University of Illinois Press/116 pp./$50.00 (hb), $20.00 (sb).

Chicago Accent, by Art Shay, forward by David Mamet. Stephen Daiter Gallery/77 pp./$25.00 (sb).

The Cinematic Tango: Contemporary Argentine Film, by Tamara L. Falicov. Columbia University Press/224 pp./$80.00 (hb), $25.00 (sb).

City That Never Sleeps: New York and the Filmic Imagination, edited by Murray Pomerance. Rutgers University Press/336 pp./$24.95 (sb).

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In City That Never Sleeps: New York and the Filmic Imagination, Murray Pomerance explores the film history of New York through a compilation of sixteen essays. The book provides an up-close-and-personal view of the three personalities of New York--"nostalgic New York," "serious New York," and "anxious New York"--portrayed in different movies that use the famous city as their backdrop.

Contributors Peter Lehman and William Luhr discuss the role of New York in Blake Edwards's 1961 film Breakfast at Tiffany's, a film in which the city is the catalyst for those who crave exclusive, sexy, extravagant nightlife. The unfortunate side of city life--poverty and racism--is conveniently forgotten. Scott Bukatman also chooses to expose New York through its nightlife in his essay about On the Town (1949, by Stanley Donen and Gene Kelly). Bukatman shows Broadway through the tremendous risk-taking involved in the many opportunities provided by New York. On the other hand, Bukatman introduces the anxious and nostalgic essence of the city during the postwar era in his essay on The Clock (1945, by Vincente Minnelli).

David A. Gerstner interprets New York in a different way. He acknowledges the hustle and bustle the city is known for and considers Andy Warhol's comment, "I want to be a machine." Along with the closeness inherent in the melting pot of the city comes danger, as David Desser brings to the forefront in his discussion of The Warriors (1979, by Walter Hill).

Rosemary's Baby, Roman Polanski's 1968 adaptation of Ira Levin's novel, takes another approach and is full of the serious, historical New York. Joe McElhaney notes the historic intimacy of the film through the various landmarks, theaters, restaurants, and stores that are depicted. Despite the intimacy of the locations, there remains a level of ambiguity and curiosity shown by the main character being a foreigner to New York. McElhaney allows the reader to understand both the perspectives of a native and an outsider through his analysis of the film.

Many other writers such as Steven Alan Carr, Gwendolyn Aubrey Foster, and William Rothman contribute to this book, highlighting works by Woody Allen, Alfred Hitchcock, Spike Lee, and Martin Scorsese, to name a few. If you love New York and get caught up in the ambience of the city, you will enjoy this book in which it is personified through film.

SIMONE N. PERRY

Cleo de 5 a 7, by Valerie Orpen. University of Illinois Press/111 pp./$50.00 (hb), $20.00 (sb).

Daguerreotypes 1995-2004, by Jerry Spagnoli. Steidl/56 pp./$40.00 (sb).

Discovering Orson Welles, by Jonathan Rosenbaum. University of California Press/336 pp./$60.00 (hb), $24.95 (sb).

Exhibition Experiments, edited by Sharon MacDonald and Paul Basu. Blackwell Publishers/254 pp./$34.95 (sb).

Feedback: Television Against Democracy, by David Joselit. MIT Press/210 pp./$19.95 (hb).

Freedom of Expression: Resistance and Repression in the Age of Intellectual Property, by Kembrew McLeod. University of Minnesota Press/379 pp./$18.95 (sb).

The Ghosts of Songs: The Film Art of the Black Audio Film Collective 1982-1998, edited by Kodwo Eshun and Anjalika Sagar. Liverpool University Press/238 pp./$35.00 (hb).

Guy DeBord: Revolution in the Service of Poetry, by Vincent Kaufmann. University of Minnesota Press/345 pp./$29.95 (hb).

Hitchcock's Music, by Jack Sullivan. Yale University Press/384 pp./$38.00 (hb).

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When it seems that everything has already been said about the work of legendary director Alfred Hitchcock, along comes a fascinating new study about the music in his films. In Hitchcock's Music, writer Jack Sullivan brings his musical expertise to reach beyond overanalyzed classics like Rear Window (1954), Vertigo (1958), or Psycho (1960). Sullivan undertakes a sustained inquiry into every one of Hitchcock's sound films, even including his extensive work in television.

The study shows that Hitchcock was an auteur who knew how to bring other auteurs into the equation. In his fifty-year career, "Hitch" worked with almost every notable composer from Dimitri Tiomkin and Franz Waxman to a young John Williams.

Bernhard Herrmann, who collaborated with the director for a decade, famously ignored the master's directive to leave the shower sequence in Psycho silent, which was a bold move that lead to one of the most durable sound cues in cinema history.

Although Sullivan seems to exaggerate when he states that "Hitchcock changed the way we think about film music," he makes a convincing case that music was a much more integral part of Hitchcock's films than previously acknowledged.

JOHANNES BOCKWOLDT teaches at the School of Film and Animation at Rochester Institute of Technology in Rochester, New York.

How to Write A Screenplay, Revised and Expanded Edition, by Mark Evan Schwartz. Continuum/110 pp./$ 15.95 (sb).

Le Corbeau, by Judith Mayne. University of Illinois Press/114 pp./$50.00 (hb), $20.00 (sb).

Lee Miller: A Life, by Carolyn Burke. University of Chicago Press/426 pp./$18.00 (sb).

Lee Miller and Roland Penrose: The Green Memories of Desire, by Katherine Slusher. Prestel/96 pp./$14.95 (sb).

Made with FontFont: Type for Independent Minds, by Jan Middendorp and Erik Spiekermann. Mark Batty Publisher/351 pp./$65.00 (hb).

Madonna of the Toast, by Buzz Poole. Mark Batty Publisher/93 pp./$14.95 (sb).

Masterpieces of Modernist Cinema, edited by Ted Perry. Indiana University Press/341 pp./$65.00 (hb), $24.95 (sb).

Mexican Blackletter, by Cristina Paoli. Mark Batty Publisher/96 pp./$24.95 (sb).

Moving Cultures: Mobile Communication in Everyday Life, by Andre H. Caron and Letizia Caronia. McGill-Queen's University Press/264 pp./$80.00 (hb), $29.95 (sb).

Museum After Moderism: Strategies of Engagement, edited by Griselda Pollock and Joyce Zemans. Blackwell Publishing/248 pp./$34.95 (sb).

New Dimension in Photo Processes: A Step-by-Step Manual for Alternative Techniques, 4th Edition, by Laura Blacklow. Focal Press/328 pp./$44.95 (sb).

Persian Visions: Contemporary Photography from Iran, by Hamid Severi and Gary Hallman (exhibition catalog). International Arts & Artists/66 pp./$20.00 (sb).

Photography, Made in Zurich, edited by Thomas Weski. Scheidegger and Spiess/287 pp./$35.00 (hb).

Pride and Panic: Russian Imagination of the West in Post-Soviet Film, by Yana Hashamova. Intellect Ltd./114 pp./$55.00 (hb).

Public Intimacy: Architecture and the Visual Arts, by Giuliana Bruno. MIT Press/239 pp./$22.95 (sb).

Re:skin, edited by Mary Flanagan and Austin Booth. MIT Press/356 pp./$40.00 (hb).

Scenes of Instruction: The Beginnings of the U.S. Study of Film, by Dana Polan. University of California Press/416 pp./$60.00 (hb), $24.95 (sb).

Sessue Hayakawa: Silent Cinema and Transnational Stardom, by Daisuke Miyao. Duke University Press/379 pp./$84.95 (hb), $23.95 (sb).

Pornografie, by Klaus Staeck. Steidl/392 pp./$45.00 (sb).

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In the 1960s and 1970s, visions of sexual utopia and dystopia continuously vied with each other in such productions as the novels and films about the education of Emmanuelle and J.G. Ballard's novel The Atrocity Exhibition (1970). Klaus Staeck's Pornografie--originally published in Frankfurt in 1971--has few affinities with Emmanuelle. But it can certainly be approached as a photo-graphic pendant to Ballard's grim fictional speculations about a military-industrial-entertainment complex, lubricated by sex.