New Books in Film

Hollywood loves making movies about itself: on this show alone, we’ve done Sunset Boulevard, Sullivan’s Travels, and Singin’ in the Rain. Get Shorty (1995) is Elmore Leonard’s contribution to the genre, a film that was “meta” before the term became overused: we are given the illusion of spontaneity and the story–like one of Leonard’s novels–seems like it’s being made up as it moves along. This perfect 90s movie is a lighthearted and wholly enjoyable dramatization of screenwriter William Goldman’s famous description of the industry: “Nobody knows anything.”

Incredible bumper music by John Deley.

If you’re interested in reading the original novel, you can find it 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.
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In Queer Indigenous Cinemas, scholar Gabriel S. Estrada offers an analysis of queer Indigenous media from the Americas, the Pacific, and the Caribbean. This groundbreaking work uses Indigenous directional space and sovereign mapping methods to uncover the emotional, spiritual, and cultural dimensions of queer Indigenous lives. The book's seven chapters--each one of the directions--look closely at media such as cinema and streaming videos that draw on Indigenous concepts from diverse nations such as Diné, Caxcan, Kanaka Maoli, and Nehiyawak.

Gabriel S. Estrada is a Caxcan/Xicanx professor in religious studies at California State University Long Beach, where ze teaches queer spirituality, Indigenous graduate classes, and Nahuatl literature.
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In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book’s scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge.

Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film.
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What is the role of television in the history of the UK? In Race on Screen: Audience Racism in Twentieth-Century Britain (Cambridge UP, 2026) Christine Grandy, an Associate Professor in History at the University of Lincoln, explores how producers, audiences, and television programmes themselves addressed race and racism in the Twentieth-Century. Drawing on a huge range of archival material, the book demonstrates the explicit racism associated with white audiences and TV programming, along with the critical resistance offered by audiences of colour. Thinking through how this history of audience and TV production racism has been forgotten, the analysis is a vital contribution to our own contemporary discussions about race and media, in the UK and beyond. The book is essential reading for arts, humanities and social science scholars, along with anyone interested in the past and future of television.
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It’s the Pop Culture Professors, and in this show we conclude our series on the films of Michael Mann. Structured as a knock-out tournament, we have set his eight most highly regarded movies in single-elimination competition. Today, we consider Heat (1995) and Collateral (2004). We ask what makes a Michael Mann movie distinctive, and what themes and ideas seem to capture his attention and bring out his best work. And we conclude the series by ranking the top Michael Mann movies.
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