In 1921 headlines across the country announced the death of Henry Starr, a burgeoning silent film star who was killed while attempting to rob a bank in Harrison, Arkansas. Cynics who knew the real Starr were not surprised. Before becoming a matinee idol, Starr had been the greatest bank robber of the horseback bandit era. Born in 1873, Cherokee outlaw Henry Starr had survived shootouts and death sentences and lived long enough to witness the invention of moving pictures. In 1919, after Starr was released from the Oklahoma State Penitentiary, a hotshot movie producer convinced him he had the looks, charisma, and “wild and woolly” life story to become the next big movie star. When filming began in 1920, powerful organizations aligned to censor Starr, attempting to prevent him from exposing Oklahoma’s corrupt legal system and the government’s mistreatment of the Cherokee. The Women's Christian Temperance Union pressured theater owners to ban his film, state and federal lawmakers drafted legislation to stymie theatrical distribution, and police and district attorneys threatened to send him back to prison. Starr's only film, the biographical movie A Debtor to the Law, is lost to history, but through surviving memorabilia, newspaper accounts, and interviews with people who worked with him on set, author Mark Archuleta traces how the reformed gentleman bandit attempted to use the power of cinema to reframe his life story and redeem himself in the eyes of the public, his family, and the Cherokee Nation. The Reel Thrilling Events of Bank Robber Henry Starr: From Gentleman Bandit to Movie Star and Back Again (University of North Texas Press, 2025) by Mark Archuleta is about more than heists and Hollywood glamor. Starr’s journey is about the American myth of reinvention, recidivism, and the founding of the motion picture industry when racial tensions were simmering to a boil. Contact the author here. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists, but according to Mary Beth Willard, it’s hard to find good reasons to do so. In Why It's OK to Enjoy the Work of Immoral Artists (Routledge, 2021), she contends that because most boycotts of artists won’t succeed, there’s no ethical reason to do so most of the time. She then argues that canceling artists is ethically risky because it encourages moral grandstanding. In this interview, Allison Leigh talks to Mary Beth Willard about the differences between enjoyment and engagement when it comes to immoral artists, as well as whether we should enjoy artworks that have immoral outlooks and behaviors embedded in them. Their conversation ranges from the problems associated with collective versus individual actions, the positive effects that giving up the work of immoral artists may have for shifting cultural norms, and the distinction between public and private enjoyment. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Since the beginning of the twentieth century, modern Chinese intellectuals, reformers, revolutionaries, leftist journalists, and idealistic youth often crossed the increasing gap between the city and the countryside, which made the act of "going to the countryside" a distinctively modern experience and a continuous practice in China. Such a spatial crossing eventually culminated in the socialist state program of "down to the villages" movements during the 1960s and 1970s. What then was the special significance of "going to the countryside" before that era? Yu Zhang explores the cultural representations and practices of this practice between 1915 and 1965, focusing on individual homecoming, rural reconstruction, revolutionary journeys, the revolutionary "going down to the people" as well as going to the frontiers and rural hometowns for socialist construction. As part of the larger discourses of enlightenment, revolution, and socialist industrialization, the act of going to the countryside entailed new ways of looking at the world and ordinary people, brought about new experiences of space and time, initiated new means of human communication and interaction, and generated new forms of cultural production. Going to the Countryside: The Rural in the Modern Chinese Cultural Imagination, 1915–1965 (U of Michigan Press, 2020) argues that this new body of cultural productions did not merely turn the rural into a constantly changing representational space; most importantly, the rural has been constructed as a distinct modern experiential and aesthetic realm characterized by revolutionary changes in human conceptions and sentiments. Through her close examinations of the practice, Yu Zhang shows a fundamental epistemic shift in modern China and ultimately how it creates a new aesthetic, social, and political landscape. Jing Li teaches Chinese language and modern Chinese literature and film. Her research focuses on rural China and independent cinema. She is developing a public humanities project on Chinese rural cinema, and serves as guest editor for the Chinese Independent Film Archive (CIFA). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Everybody was shocked when, in 1999, David Lynch released a G-rated film with a Norman Rockwell setting that didn’t have a dark underbelly or wild reveal; if you have a David Lynch bingo card, The Straight Story is the free space. And while The Straight Story is as wholesome a film as you can find, it's never sentimental or corny. Dan thinks it’s Lynch’s best. Join him and Mike as they talk about all the ways that the film could have gone wrong and, more importantly, all the things that Lynch gets right about aging, regret, and family. Any fan of David Lynch’s work should read Room to Dream, Lynch’s memoir that’s as unique as the man himself: the book has alternating chapters of Lynch and his official biographer telling the story of his life. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Check out Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Slow motion is everywhere in contemporary film and media, but it wasn't always so ubiquitous. How did slow motion ascend to the dubious honor of becoming our culture's least "special" effect? And what does slow motion — a trick secured paradoxically through the camera's ever-racing speeds of capture — tell us about the temporalities and trajectories of modernity?  Mark Goble, Professor of English at the University of California, Berkeley, takes up these questions in his latest book Downtime: The Twentieth Century in Slow Motion (Columbia UP, 2025), out now from Columbia University Press. In this conversation with Alix Beeston, Mark shares from his fascinating account of slow motion across film, art, and literature in the twentieth- and twenty-first centuries. For Mark, slow motion is a key index of a period of capitalist, ecological, political, and cultural crisis that we're still enduring — but that we hope will one day, however slowly, come to an end.  Tracking bodies and things as they move fast and slow at once also prompts new reflections on the value of the time that academic labor takes, the nature of its uneven rhythms and contingencies, and why dad jokes, witty asides, and extended bits on the impotence of Clyde in the classic 1968 film Bonnie and Clyde might turn out to be essential to scholarly writing.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

We tend to think about movie stars as either glamorous or relatable. But in the 1920s and 1930s, when the Hollywood star system was taking shape, a number of unusual stars appeared on the silver screen, representing groups from which the American mainstream typically sought to avert its eyes. What did it mean for a white entertainment columnist to empathize with an ambiguously gendered Black child star? Or for boys to idolize Lon Chaney, famous for portraying characters with disabilities? Hollywood's Others: Love and Limitation in the Star System (Columbia UP, 2025) explores the affective ties between white, non-disabled audiences and the fascinatingly different stars with whom they identified—but only up to a point. Katherine Fusco argues that stardom in this era at once offered ways for viewers to connect across group boundaries while also policing the limits of empathy. Examining fan magazines alongside film performances, she traces the intense audience attachment to atypical celebrities and the ways the film industry sought to manage it. Fusco considers Shirley Temple’s career in light of child labor laws and changing notions of childhood; shows how white viewers responded to Black music in depictions of the antebellum South; and analyzes the gender politics of conspiracy theories around celebrity suicides. Shedding light on marginalized stardoms and the anxieties they provoked, Hollywood’s Others challenges common notions about film’s capacity to build empathy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Tales of Militant Chemistry (U of California Press, 2025), Alice Lovejoy tells the untold story of film as a chemical cousin to poison gas and nuclear weapons, shaped by centuries of violent extraction. The history of film calls to mind unforgettable photographs, famous directors, and the glitz and hustle of the media business. But there is another tale to tell that connects film as a material to the twentieth century's history of war, destruction, and cruelty. This story comes into focus during World War II at the factories of Tennessee Eastman, where photographic giant Kodak produced the rudiments of movie magic. Not far away, at Oak Ridge, Kodak was also enriching uranium for the Manhattan Project--uranium mined in the Belgian Congo and destined for the bomb that fell on Hiroshima. While the world's largest film manufacturer transformed into a formidable military contractor, across the ocean its competitor Agfa grew entangled with Nazi Germany's machinery of war. After 1945, Kodak's film factories stood at the front lines of a new, colder war, as their photosensitive products became harbingers of the dangers of nuclear fallout. Following scientists, soldiers, prisoners, and spies through Kodak's and Agfa's global empires, Lovejoy links the golden age of cinema and photography to colonialism, the military-industrial complex, radioactive dust, and toxic waste. Revelatory and chilling, Tales of Militant Chemistry shows how film became a weapon whose chemistry irrevocably shaped the world we live in today. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Kartemquin Films: Documentaries on the Frontlines of Democracy (U California Press, 2024) traces how filmmaker-philosophers brought the dream of making documentaries and strengthening democracy to award-winning reality—with help from nuns, gang members, skateboarders, artists, disability activists, and more. The evolution of Kartemquin Films—Peabody, Emmy, and Sundance-awarded and Oscar-nominated makers of such hits as Hoop Dreams and Minding the Gap—is also the story of U.S. independent documentary film over the last seventy years. Patricia Aufderheide reveals the untold story of how Kartemquin developed as an institution that confronts the brutal realities of the industry and society while empowering people to claim their right to democracy. Kartemquin filmmakers, inspired by pragmatic philosopher John Dewey, made their studio a Chicago-area institution. Activists for a more public media, they boldly confronted in their own productions the realities of gender, race, and class. They negotiated the harsh terms and demands of commercial media, from 16mm through the streaming era, while holding fast to their democratic vision. Drawing on archival research, interviews, and personal experience, Aufderheide tells an inspiring story of how to make media that matters in a cynical world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

We’ve seen many attempts at transferring Mallory’s Le Morte d’Arthur and its variants onto the screen, but none of them capture the spirit of the original quite like Excalibur, John Boorman’s 1981 film that can be called, without insult, “aggressively two-dimensional.” Join us for a conversation about how Boorman makes the experience of watching a film like the experience of reading the legends. We also talk about the two best portrayals of King Arthur: Nigel Terry and Graham Chapman. If the conversation makes you want to read the original material, you can find a great edition of Le Morte d’Arthur here. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Check out Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Autonomous weapons exist in a strange territory between Pentagon procurement contracts and Hollywood blockbusters, between actual military systems and speculative futures. For this week's Liminal Library, I spoke with Jascha Bareis, co-editor of The Realities of Autonomous Weapons (Bristol UP, 2025), about how these dual existences shape international relations and cultural imagination. The collection examines autonomous weapons not just as military hardware but as psychological tools that reshape power dynamics through their mere possibility. These systems epitomize what the editors call "the fluidity of violence"—warfare that dissolves traditional boundaries between human decision and machine action, between targeted strikes and algorithmic inevitability. Bareis and his contributors trace fascinating connections between fictional representations and military doctrine—how Terminator narratives influence Pentagon planning while actual weapons development feeds back into artistic imagination. The book wrestles with maintaining "meaningful human control" over systems designed to operate faster than human thought, a challenge that grows more urgent as militaries worldwide race toward greater autonomy. Each chapter reveals how thoroughly we need to rethink human-machine relationships in warfare, from the gendered coding of robot soldiers in film to the way AI imaginaries differ between Silicon Valley and New Delhi. Autonomous weapons force us to confront uncomfortable realities about agency, violence, and the increasingly blurred line between human judgment and algorithmic certainty. Links: A Clean Kill? the role of Patriot in the Gulf War Statement delivered by Germany on Working Definition of LAWS / “Definition of Systems under Consideration” The Silicon Valley venture capitalists who want to ‘move fast and break things’ in the defence industry Hype Studies 'The Gatekeepers' documentary Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

For just over a decade, from 1956 to 1967, a collection of dilapidated former sail-making warehouses clustered at the lower tip of Manhattan became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented and varied artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman. As friends and inspirations to one another, they created a unique community for unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Now, for the first time, in The Slip: The New York City Street That Changed American Art Forever (Harper, 2023) Dr. Prudence Peiffer pays homage to these artists and the unsung impact their work had on the direction of late twentieth-century art and film. This remarkable biography, as transformative as the artists it illuminates, questions the very concept of a “group” or “movement,” as it spotlights the Slip’s eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Brought together not by the tenets of composition or technique, nor by philosophy or politics, the artists cultivated a scene at the Slip defined by a singular spirit of community and place. They drew lasting inspiration from one another, but perhaps even more from where they called home, and the need to preserve the solitude its geography fostered. Despite Coenties Slip’s obscurity, the entire history of Manhattan was inscribed into its cobblestones—one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city’s maritime industry; and, in the artists’s own time, a development battleground for Jane Jacobs and Robert Moses. The Slip’s history is entwined with that of the artists and their art—eclectic and varied work that was made from the wreckage of the city’s many former lives. An ambitious and singular account of a time, a place, and a group of extraordinary people, The Slip investigates the importance of community, and makes an argument for how we are shaped by it, and how it in turns shapes our work. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Alisha Mughal's It Can’t Rain All the Time: The Crow (ECW Press, 2025) weaves memoir with film criticism in an effort to pin down The Crow’s cultural resonance. A passionate analysis of the ill-fated 1994 film starring the late Brandon Lee and its long-lasting influence on action movies, cinematic grief, and emotional masculinity Released in 1994, The Crow first drew in audiences thanks to the well-publicized tragedy that loomed over the film: lead actor Brandon Lee had died on set due to a mishandled prop gun. But it soon became clear that The Crow was more than just an accumulation of its tragic parts. The celebrated critic Roger Ebert wrote that Lee’s performance was “more of a screen achievement than any of the films of his father, Bruce Lee.” In It Can’t Rain All the Time, Mughal argues that The Crow has transcended Brandon Lee’s death by exposing the most challenging human emotions in all their dark, dramatic, and visceral glory, so much so that it has spawned three sequels, a remake, and an intense fandom. Eric, our back-from-the-dead, grieving protagonist, shows us that there is no solution to depression or loss, there is only our own internal, messy work. By the end of the movie, we realize that Eric has presented us with a vast range of emotions and that masculinity doesn’t need to be hard and impenetrable. Through her memories of seeking solace in the film during her own grieving period, Mughal brilliantly shows that, for all its gothic sadness, The Crow is, surprisingly and touchingly, a movie about redemption and hope.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Jiří Anger is a scholar, archivist, and videographic critic devoted, as he says in this interview, to "making weird shapes shine." In this episode of New Books in Film, Anger sits down with Alix Beeston to discuss his award-winning book Towards a Film Theory from Below: Archival Film and the Aesthetics of the Crack-Up.  Anger's book is an experiment in theorizing film "from below," from the perspective of moving-image objects themselves. Its revelatory readings of single frames from the digitized first Czech films by Jan Kríženecký challenge what we think we know about film materials, histories, and spectatorship. These early film objects are defined and deformed by scratches, stains, tears, and shakes that Anger takes seriously as part of an "accidental aesthetics" which reveals the creative potential of material traces and processes — beyond their shaping through human intention. How does doing film theory from below complicate our understandings of creativity and agency? What forms of scholarly or artistic interventions into film materials does it prompt? What are the ethics of "touching" or manipulating archival objects for the sake of restoration, dissemination, or interpretation? Reflecting on both his written scholarship and videographic practice, Jiří offers thoughtful answers to these and other vexing questions for all who seek to reimagine film history and theory through the archive's preponderance of idiosyncratic forms, disruptive materials, and weird shapes. Towards a Film Theory from Below is out now with Bloomsbury Academic. Anger builds on the work of the book in A Tale of Two Desktops: The First Czech Films in Parallel Worlds, a new videographic essay coproduced with Veronika Hanáková and Jiří Žák. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

We break down the themes and ideas in 28 Years Later, with a particular focus on the politics of this Danny Boyle / Alex Garland sequel to 28 Days Later. We react to the humanitarianism of Dr. Kelson, the role of the islands within the movie, and analyze the visions of family, fatherhood, and masculinity presented. We explain the controversial ending to the movie, and consider the extent to which the movie is commenting on Britain past, present, and future. We begin, though, with a review of the film. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

If you mention Appalachia to many people, they may immediately respond with the "Deliverance" dueling banjos theme. Unfortunately, this is an example of how the region is stereotyped and misunderstood, particularly in films. In her book, Unwhite: Appalachia, Race, and Film(University of Georgia Press, 2018), Meredith McCarroll, Director of Writing and Rhetoric at Bowdoin College, describes Appalachian people as being shown as different from both white and nonwhite groups, often considered as belonging to the worst of each group. Her book discusses specific film examples that help to illustrate the negative connotation heaped upon Appalachia, and also presents where filmmakers treat them more fairly. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Behind the braided wigs, buckskins, and excess bronzer that typified the mid-century "filmic Indian" lies a far richer, deeper history of Indigenous labor, survival, and agency. This history takes center stage in historian Liza Black's new book, Picturing Indians: Native Americans in Film, 1941-1960 (University of Nebraska Press, 2020), which looks at Indigenous peoples' experiences in the American film industry that so often relied upon and reproduced racialized stereotypes of "authentic Indians" to produce profit. Black shows how non-Native film producers, in producing monolithic and historically static Native caricatures for profit, reinforced settler colonial narratives on screen while simultaneously denying Indigenous actors, extras, and staff of their modernity. Thorough in detail and innovative in analysis, Black incorporates film studies, Native and Indigenous studies, and history, shedding new light on the mid-century film industry and Native peoples' roles in it. Black chronicles the contours of American settler colonialism and its cultural and economic manifestations both on- and off-screen, giving the "authentic Indian" so familiar to non-Native audiences a much-needed dose of historical context. The result is an engaging story of Indigenous talent, labor, and livelihood that transcends critical moments in Native and U.S. histories alike. Listeners can now purchase Picturing Indians using code 6AF20 for a 40% discount on the University of Nebraska Press' site. Annabel LaBrecque is a PhD student in the Department of History at UC Berkeley. You can find her on Twitter @labrcq. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The relationship between the city and cinema is formidable. The images and sounds of the city found in movies are perhaps the only experience that many people will have of cities they may never visit. Films influence the way we construct images of the world, and accordingly, in many instances, how we operate within it. Cinematic Cairo: Egyptian Urban Modernity from Reel to Real offers a history of Cairo’s urban modernity using film as the primary source of exploration, and cinematic space as both an analytical tool and a medium of critique. Cairo has provided rich subject material for Egypt’s film industry since the inception of the art form at the end of the nineteenth century. The “reel” city—imagined, perceived, and experienced—provides the spatial domain that mirrors change and allows for an interrogation of the “real” city as it encountered modernity over the course of a century.Bringing together chapters by architects and art and literary historians, this volume explores this parallel and convergent relationship through two sections. The first uses films from the 1930s to the end of the twentieth century to illustrate the development of a modern Cairo and its modern subjects. The second section is focused on tracing the transformation of the cinematic city under conditions of neoliberalism, religious fundamentalism, and gender tensions. The result is a comprehensive narrative of the urban modernity of one of the most important cities in the Arab world and Global South. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Art of Pure Cinema: Hitchcock and His Imitators (Oxford University Press) is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs, Associate Professor of Film Studies and Director of the Film Studies Program at the University of Sydney, explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en scène, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Our episode on Moonstruck (1987) was almost never made: as with Manchester By the Sea, Dan harbored an irrational suspicion against it–but when he finally saw it, he sought forgiveness for the errors of his ways. That’s an appropriate theme to consider in light of a film saturated with Italian Catholicism that explores themes of sin and redemption, but with a light touch and in a celebratory mode. It’s a terrific film that couldn’t be made today; listen to the show to learn why. Ira Wells’s Norman Jewison: A Director’s Life is the 2021 biography of the director who worked with almost every A-list star but who also had to often battle the studios to pursue his projects. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Also check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as the many film-related interviews on The New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Richard Scheib's A Viewing Guide to the Pandemic (Headpress, 2025) is a film book like no other. It opens with the author's first-hand account of the Covid-19 pandemic and life in lockdown. His sense of dread, and anxiety about his state of health, were experiences shared with millions of others across the world. For author Richard Scheib, already committed to writing a book about plagues and pandemics in popular culture, Covid-19 felt like a perverse twist of fate. Media depictions of deadly contagions had, to this point, been speculative and often off the mark; his book takes an in-depth look at what filmmakers imagined would happen and contrasts it with the reality. International in scope, A Viewing Guide to the Pandemic examines films in a wide variety of genres, from the silent era to the present day. Black Death, Ebola, Mad Cow Disease, Bird Flu -- it explores fictionalized accounts of plague and pestilence such as box-office hit Outbreak (1995), as well as documentary treatments of real-life incidents. Whether the threats depicted have a basis in reality -- the biowarfare of the Cold War era, for instance -- or are, like zombies and vampires, more fantastical, Scheib demonstrates how the fear of contagion has provided a wealth of inspiration for the big and small screen. In addition to his work on the pandemic, Scheib runs Moria Reviews where he posts reviews for horror, science fiction, and fantasy films.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film