In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography." - wikipedia

    Here is the inside story of a monumental achievement conceded even by its enemies to mark a turning point in the art of cinema."If 2001 has stirred your emotions, your subconscious, your mythological yearnings, then it has succeeded."--Stanley Kubrick

    This discussion with the great Swedish director ranges from Bergman's childhood memories to his admiration for Strindberg to his relationship with the stars whom he made famous - Liv Ullmann, Harriet Andersson, Max von Sydow and Bibi Andersson, among others. Originally published in 1973, this work covers Bergman's career from his early films through the works: The Seventh Seal, Wild Strawberries, Persona, The Passion of Anna.

    Spence Tracy and Kate Hepburn were the couple everyone knew of but no one really knew anything about. What kept these two opposites together makes for an interesting read.

    Understand the influence the film and director had on other movie makers and what relationship Seven Samurai has with the classic western, The Magnificant Seven." What is the final image of the film and what is its symbolic significance? How did Toshiro Mifune and Kurosawa meet and what influence did they have on each others work? Satisfy your curiosity with the ultimate film guides. Read biographies of key players, critics reviews and finally see the film the director wanted you to see.

    A movie man of passion, his reviews range from Dr Strangelove and The Servant to Belle de Jour and Funny Girl.

    The 11th edition of this famed film guide continues to provide the most comprehensive and authoritative information on everything there is to know about thousands of actors, directors, writers, producers, and others involved in the movies.

    His style and hs films, including Diary of a country Priest, Pickpocket, and Balthazar are analysed by a group of critics with widely divergent attitudes to his work.

    

    He had begun it with the idea of creating a work that would stand on its own as a work of art and still enhance and deepen the audience’s apprehension of their indi­vidual experience of Deliverance and its special meaning to them. When he sent this screenplay to Warner Brothers it was with a sense of having accomplished that goal—“I was convinced I had put down on paper what I wanted to happen on the screen, no matter who the director was, or the actors, or any of the rest of the crew.” But while acknowledging the creativity, bravery, and dedica­tion of John Boorman and the actors and the crew who made the film version of Deliverance, Dickey also states that their real­ization is not the film as he would have had it. That film exists only in his imagination and within this screenplay. The story as filmed is presented in twenty-two production stills that speak of the undeniable strengths of the production that received nomi­nations from the Motion Picture Academy for its awards of best picture, best direction, and best editing. Arthur Knight de­scribed the film as “one of those rare films that resonates like a literary work but that—rarer still—avoids either being or sounding literary.” Dickey concludes his Afterword with an invi­tation to the reader to “show [the screenplay] in the wide­screen theater of his mind and compare it with the version he has seen in actual theaters, or on television.”

    

    This collection covers a range of topics in twentieth century cinema, from the Auteur Theory to the commercial cinema, from Orson Welles to Kenneth Anger.

    The author documents over 90 of Cooper's films, including Beau Geste, High Noon, and For Whom the Bell Tolls.

    Films of Clark Gable, The, by Essoe, Gabe

    In it the master of French film comedy plays with time in much the same way that a film editor might – he combines reviews written during the twenties and thirties with comments made in 1950 and again in 1970, and includes brief notes from other years as well as an imaginary dialogue with himself across time. The result is surprisingly unified. It is Clair’s coherent vision of the cinema as he surveys his entire career and the whole of film history. In the best sense of the term, it is an essay, and one of the very few such works written by a giant in the world of film.Mixing personal memories with critical perception and aesthetics, he discusses the making of Entr’acte and comments specifically on a large number of European and American films. He recounts his struggle through the birth of the sound film, hailing it for its potential but regretting the loss of a world of dreams.Clair does not consider cinema in a vacuum but alludes frequently to the works of Rimbaud, Jarry, Shakespeare, Moliere, Racine, De Quincey and a host of others. His own writing is full of intelligence, freedom and elegance. His defense of comedy is striking, and he gives ample play to his own comic sense in the many anecdotes that everywhere enliven the text. Perhaps his love of cinema is best illustrated by his use of three words in describing it–”miracle,” “faith” and “grace.”