New Books in Film

By Marshall PoeTV & Film

New Books in Film episodes

August 31 Dog Day Afternoon
A comedy of frustration and a look at how the media takes and then takes back one’s fifteen minutes of fame, Dog Day Afternoon (1975) is on of Sidney Lumet’s best films with one of Al Pacino’s best performances. Sonny wants to be Lee Marvin but acts more like Don Knotts; he wants to be a folk hero, but becomes more like a meme; he has a romance with the media and finds that his mistress is fickle. Sonny is the kind of person who accidentally appears in a viral video, comes to enjoy the renown, but then learns that his hour upon the stage is signifying nothing.
Bumper music: Bumper music by John Deley.
Interested in the real events that inspired the film and how the film was made? Read Rachel Walther’s Born to Lose: The Misfits Who Made Dog Day Afternoon.
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 Letterboxd and email us any time at [email protected] with requests and recommendations. 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. Mike Takla is on substack at The Grumbler’s Almanac.
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24 min
August 30Corrado Neri, "Taiwanese Horror Cinema in the 21st Century: Spectral Narratives and Screen Culture" (Anthem Press, 2026)
Taiwanese cinema is internationally celebrated for the
auteurs of the Taiwan New Cinema. Yet over the past fifteen years,
ghosts, demons, curses and haunted screens have become increasingly
prominent, turning horror from a marginal genre into an important strand
of Taiwan’s popular cinema.
Professor Corrado Neri’s new book, Taiwanese Horror Cinema in the 21st Century: Spectral Narratives and Screen Culture (Anthem
Press, 2026), explores this transformation. Neri argues that Taiwanese
horror has reached a new stage of maturity: it is now an established
industrial category, has diversified across genres and media, and has
developed a sophisticated capacity to address Taiwan’s social,
historical and technological anxieties.
The book also launches the new short book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.
In this podcast conversation, Dr Ming-yeh Rawnsley talks
with Professor Neri about what Taiwanese horror can tell us about Taiwan
itself. Their discussion moves from ghosts and folklore to democracy,
historical memory, digital culture and changing understandings of
identity. Themes include:
Why horror? – how a once-marginal genre became an important part of Taiwanese cinema.

Taiwan as a ‘Ghost Nation’ – why ghosts offer powerful ways of thinking about Taiwan’s contested history and identity.

Horror,
democracy and historical memory – how liberalisation opened new
possibilities for confronting difficult histories, notably the White
Terror in Detention.

Religion,
folklore and the supernatural – how beliefs, rituals and local legends
provide filmmakers with distinctive cultural resources.

Digital ghosts – how smartphones, social media, gaming and screen culture have transformed haunting.

Gender, sexuality and queer horror – how films such as Marry My Dead Body use supernatural conventions to explore changing social identities.

Taiwan
within Asian horror cinema – how Taiwanese filmmakers engage with
regional traditions while developing recognisably local forms.
One of the book’s most compelling arguments is that the
supernatural provides a productive language for exploring Taiwan’s
relationship with its past and present. Detention transforms the political violence of the White Terror into a spectral landscape of memory, guilt and historical reckoning. The Tag-Along, The Rope Curse and Incantation bring folklore and ritual into contact with cameras, smartphones and social media.
Taiwanese horror is also transmedial. Detention moved from video game to feature film, television series and novel; The Bridge Curse and Incantation have extended into gaming, while The Tag-Along
has expanded into webtoon and virtual reality. Horror thus forms part
of a wider creative ecosystem in which cinema intersects with digital
media, popular culture and Taiwan’s cultural-content industries.
Taiwanese horror therefore deserves attention beyond horror
enthusiasts or film specialists. These films frighten, surprise and
sometimes make audiences laugh, but their ghosts also carry history.
They negotiate memories of authoritarianism and democratisation,
questions of gender and sexuality, and move between temples, cinemas,
video games and smartphone screens.
The ghosts haunting contemporary Taiwanese cinema are
rarely just ghosts. They offer another way of asking questions about
Taiwan: how the past survives in the present, how identities are
continually remade, and how a rapidly changing society chooses to
remember—and imagine—itself.
Dr Ming-yeh T. Rawnsley is a Research Associate at the
Centre of Taiwan Studies, SOAS University of London, and a host for the
New Books Network. She is also a co-editor (with Professor Gary
Rawnsley) of the short book series, ‘Anthem Impact in Asian Media,
Cinema and Communications’.
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32 min
August 26 Brian Jay Jones, "George Lucas: A Life" (Little, Brown and Company, 2016)
The essential biography of the influential and beloved filmmaker George Lucas.
On May 25, 1977, a problem-plagued, budget-straining independent science-fiction film opened in a mere thirty-two American movie theaters. Conceived, written, and directed by a little-known filmmaker named George Lucas, the movie originally called The Star Wars quickly drew blocks-long lines, bursting box-office records and ushering in a new way for movies to be made, marketed, and merchandised. It is now one of the most adored–and successful–movie franchises of all time.
Now, the author of the bestselling biography Jim Henson delivers a revelatory look into the life and times of the man who created Luke Skywalker, Han Solo, and Indiana Jones in George Lucas: A Life (Little, Brown and Company, 2016)
If Star Wars wasn't game-changing enough, Lucas went on to create another blockbuster series with Indiana Jones, and he completely transformed the world of special effects and the way movies sound. His innovation and ambition forged Pixar and Lucasfilm, Industrial Light & Magic, and THX sound.
Lucas's colleagues and competitors offer tantalizing glimpses into his life. His entire career has been stimulated by innovators including Steven Spielberg and Francis Ford Coppola, actors such as Harrison Ford, and the very technologies that enabled the creation of his films-and allowed him to keep tinkering with them long after their original releases. Like his unforgettable characters and stories, his influence is unmatched.
Brian Jay Jones is the author of the New York Times bestseller Jim Henson: The Biography, as well as Becoming Dr. Seuss: Theodor Geisel and the Making of An American Imagination and Washington Irving: An American Original. His most recent book is The Capitol: The Surprising Biography of an American Building. He continues to believe that Han shot first.
Daniel Moran’s writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, available here on the New Books Network and wherever podcasts are found.

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1 hr 15 min
August 21Mulholland Drive at 25: Film Quarterly
In this episode, J. M. Tyree, the editor of Film Quarterly discusses a dossier of articles about David’s Lynch’s 2001 Mulholland Drive on its 25th anniversary with dossier editor Eileen G’Sell.
Film Quarterly (FQ) is published four times a year by the University of California Press. For more information about the journal, including subscription and submission information, please visit FQ’s website.
If you are interested in supporting the work of UC Press and its Journals Program, please consider making a charitable donation to the UC Press Foundation. To learn more about the UC Press Foundation and how to contribute, please visit UC Press’s Support Us page.
Articles mentioned:
Eileen G’Sell; Uncanny Intimacies, Abject Desires. Film Quarterly Fall 2026; 80 (1): 26-29. Link

Laura Westengard; The Radical Intimacy of Rot: Mulholland Drive's Queer Proliferations. Film Quarterly Fall 2026; 80 (1): 30-35. Link

Lori Jo Marso; Sweet Dreams (Are Made of This): David Lynch, Simone de Beauvoir, and “Feeling Like a Feminist”. Film Quarterly Fall 2026; 80 (1): 36-41. Link

Temperance Aghamohammadi; “That’s Not My Voice”: Telephonic Logics and Paranoid Listening in Mulholland Drive. Film Quarterly Fall 2026; 80 (1): 42-47. Link

Eileen G’Sell; “This Is the Girl”: Mulholland Drive, Naomi Watts, and the Double Abjection of the Hollywood Starlet(s). Film Quarterly Fall 2026; 80 (1): 48-56. Link
A complete list of University of California Press journals is available at UC Press Journals.
J. M. Tyree is the editor-in-chief of Film Quarterly and an associate professor in the Cinema Program at VCUarts.
A Rabkin winner for arts journalism, Eileen G'Sell is a film critic and teaching professor at Washington University in St. Louis.
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20 min
August 18 Vincent Haddad, "Next Time on Dragon Ball: Playing with a Manga and Anime Franchise" (U Minnesota Press, 2026)
Since its debut in 1984, Dragon Ball has become one of the most popular, influential, and lucrative media franchises in the world. In Next Time on Dragon Ball: Playing with a Manga and Anime Franchise (U Minnesota Press, 2026), Dr. Vincent Haddad investigates how the franchise has maintained huge global demand despite its formulaic plotlines. Examining its exhaustive repetition of storytelling forms across comics, TV series, games, and merchandise, Haddad argues that the convergence of play, fandom, and narrative made Dragon Ball an unlikely success—and a harbinger of broader shifts in the media landscape of franchises from the 1980s to the present.
Dr. Haddad conceives of Dragon Ball as a “franchise toy,” a corporate media property that is constantly remixed by its fans in ways that its owners resist but also ultimately embrace: appropriation is essential to the franchise’s popularity. Over the past forty years, Dr. Haddad argues, Dragon Ball’s deployment of familiar tropes, cultural references, and narrative forms—from classical Chinese stories and the films of Bruce Lee and Jackie Chan to American franchises like Superman and Star Wars—has invited unique transcultural play. Through diverse examples of how fans use its characters as “playthings,” Dr. Haddad shows how Dragon Ball travels across international networked fandoms, highlighting the queer, gendered, and racialized dimensions of this play.
Parsing the dynamics of “sites of conflict” between authorized media and fan content, Next Time on Dragon Ball illuminates how fan engagement across the Americas changes the parameters of what a manga and anime franchise is and can be.
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.
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

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55 min
August 17 Tár
Tod Field’s Tár (2022) is one of the best ghost stories we’ve discussed on the show. The story of a troiubled genius, the film is also a wonderfully ambiguous portrat of a person persued by her past in the form of an unseen and vengerful force. Lydia Tár is by turns charismatic, repulsive, fascinating, and frightening. She’s a real person and demands a compicated response, just like the film as a whole. Part Amadeus and part Lolita, Tár is a high-water mark for anyone intrested in a portrat of the artist.
Bumper music: Gustav Mahler’s Symphony No. 5 - Trauermarsch by Jason Weinberger & WCF Symphony. Licensed under Creative Commons: By Attribution 3.0
If, like Lydia Tár, you’re fascinated by Mahler, check out Stephen Downes’ 2025 biography.
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 Letterboxd and email us any time at [email protected] with requests and recommendations. 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. Mike Takla is on substack at The Grumbler’s Almanac.
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

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35 min
August 14 Linda Williams and eds. Christine Gledhill et al., "Melodrama As Provocateur" (Duke UP, 2026)
The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema’s most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama.
Melodrama is the focus of what would become Williams’s final project. In the last few years of her life, she was working on a project that traced melodrama’s divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture.
Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams’s unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media.
For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University.
Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague’s unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us.
Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world.
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1 hr 9 min
August 14 Ellery E. Foutch, "A Perfectionist Impulse: The Art of Stopping Time in the Nineteenth Century (U Minnesota Press, 2026)
Cultural studies of the nineteenth century often categorize their subjects as being motivated by one of two opposing notions: a wholehearted embrace of progress or an antimodernist nostalgia. A Perfectionist Impulse: The Art of Stopping Time in the Nineteenth Century (U Minnesota Press, 2026) centers a different kind of response to the period’s newly intensified awareness of temporality and history: an obsession with preserving perfection. Engaging a diverse set of case studies, Dr. Ellery E. Foutch explores the era’s desire to forestall the march of time and immortalize the fleeting moment through art and technology.
Beginning with an investigation of artist and naturalist Titian Peale’s butterfly illustrations and specimen boxes, Dr. Foutch assesses the implications of attempts to fix animal life in the “perfect state.” She then turns to Harvard’s Ware Collection of Glass Flowers, botanical models meticulously crafted to serve as instructional tools but most famous internationally as a spectacle for tourists. Finally, she scrutinizes the period’s preoccupation with the fragility of the human body, examining artistic representations of the legendary bodybuilder Eugen Sandow, widely known during his time as the “Perfect Man.” Highlighting the paradoxical way in which these attempts at preservation ultimately sap the vitality from the organic processes they seek to arrest, Dr. Foutch uses these curious objects to unpack a deep set of cultural anxieties around decay and death.
By analyzing objects of mass culture and natural history using methods typically reserved for works of art, A Perfectionist Impulse provides a unique window into how nineteenth-century scientists, technologists, artists, and entertainers rendered a common desire for perfection and immortality. Itself a wondrous collection of attempts to capture the idealized moment, this extensively illustrated book serves as a shining example of our enduring fascination with the ephemeral.
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.
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

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59 min
August 03 Close Encounters of the Third Kind and The War of the Worlds
In light of the dismal Disclosure Day (2026), we return to two films that show Spielberg tackling alien visitation (or invasion) stories while at the height of his powers. Close Encounters of the Third Kind (1977) and The War of the Worlds (2005) are decades apart, yet united by a single image and devotion to their audiences. The first is as Disneylike as Pinocchio; the second conjures memories of 9/11. Both show domesticity under great strain as families and infrastructures break down; one ends with hope while the other simply stops.
Incredible bumper music by John Deley.
The War of the Worlds is based on H. G. Wells’s 1898 novel, which you can purchase here.
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 Letterboxd and email us any time at [email protected] with requests and recommendations. 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. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day.
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

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29 min
July 30 Kathleen W. Taylor Kollman, "The Fictional Female Presidency in Film, Television, and Literature: Representations from 1932 to 2024" (Bloomsbury Academic, 2026)
Kathleen W. Taylor Kollman has a new book out that focuses on the reality of women running for president in the United States, and the fictional representations of this idea that we have seen over the past hundred years. The Fictional Female Presidency in Film, Television, and Literature: Representations from 1932 to 2024 (Bloomsbury Academic, 2026) takes up a number of different and intriguing examples of this idea, a woman serving as president, and unpacks the various narratives to help us understand what popular culture may be communicating about this concept and what those narratives may be teaching the audience (viewers or readers). Taylor Kollman comes at her research from a variety of perspectives, including Media Studies, Women’s Studies, Feminist Studies, and American Studies. This makes the research particularly rich – since it explores these ideas from a host of analytical viewpoints, helping the reader to consider different genres (television, film, literature) and different approaches. Undergirding all of this is an interrogation of the idea of women and power, which is a controversial concept for many voters, even if it remains unacknowledged.
Taylor Kollman goes through the decades, with a focus on examples of female presidents in a variety of different cultural artifacts. In tracing this concept through almost a hundred years of different narratives, the research highlights some interesting themes, including the accidental way in which women become president within the fictional framework. One of the points Taylor Kollman makes is that, in all the different genres and contexts, there seems to be something wrong with this idea of a woman as president. Often the characters are presented as deceptive, evil, corrupt, illegitimate, or they are seen as incapable of doing the job and are often torn between work and homelife/family life. In tracing these examples, Taylor Kollman also provides the reader with an understanding of the different iterations (waves) of feminism and feminist thought, as well as noting the various backlashes to feminism. The Fictional Female Presidency in Film, Television, and Literature takes the reader through a host of different examples, fleshing out these feminist and backlash imaginary spaces that focus on women and power.
Another part of the equation, that is often overlooked in the research on this topic, is that there are fewer female film and television producers, directors, and showrunners, thus often constraining the opportunity to present these ideas of woman and power. This also influences the narratives that come before audiences, since women are not generally “trusted” in the same way that men are to helm major film releases with multi-million dollar budgets. This is another form of reality influencing the imaginary, but in a less expected way. The Fictional Female Presidency in Film, Television, and Literature: Representations from 1932 to 2024 takes the reader from Betty Boop for President to Allison Janney as President Grace Penn in The Diplomat and many other fascinating examples of fictional portrayals of women as president of the United States.
Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-host of the New Books in Political Science channel at the New Books Network. She is co-editor of The Politics of the Marvel Cinematic Universe Volume I: The Infinity Saga (University Press of Kansas, 2022), and of The Politics of the Marvel Cinematic Universe Volume II: Into the Multiverse (University Press of Kansas, 2025) as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012). She can be reached @gorenlj.bsky.social
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48 min

About New Books in Film

From the publisher's feed

This podcast is a channel on the New Books Network. The New Books Network is an academic audio library dedicated to public education. In each episode you will hear scholars discuss their recently published research with another expert in their field.