By: Joshua Glenn

A scene from FOR THOSE WHO THINK YOUNG (1964)

By: Joshua Glenn

A scene from BEACH PARTY (1963)

By: Peggy Nelson

A stark contrast in mascara and morality!

By: Joshua Glenn

A scene from GONE WITH THE WIND (1939)

By: Joshua Glenn

A scene from THE ASPHALT JUNGLE (1950)

By: Peggy Nelson

He insisted that he was a poet, no matter what the medium.

By: Tor Aarestad

German history, anti-norm­ativity, and structur­alism.

By: Joshua Glenn

A scene from THE GUV’NOR (1935)

By: Greg Rowland

His spooky-measured voice evoked a civilized darkness.

By: Joshua Glenn

A scene from THUNDERBALL (1965)

By: Joshua Glenn

A scene from WILD IN THE STREETS (1968)

By: Adam McGovern

Immortal, like a surgical version of H. Rider Haggard’s SHE.

By: Joshua Glenn

A scene from STRIPES (1981)

By: Greg Rowland

France had Existentialism; England had Hancock.

By: Franklin Bruno

Andre Bazin wrote “he directs facts” — but did he?