As Kubrick comments in his introduction: “I have always wondered if there might be a more meaningful way to present a book about a film. To make, as it were, a complete graphic representation of the film, cut by cut, with the dialogue printed in the proper place in relation to the cuts, so that within the limits of still photos and words, an accurate (and I hope interesting) record of a film might be available… This book represents that attempt.”Screenplay by Stanley Kubrick, based on the novel by Anthony Burgess.

    This book was published about a year after her death of cancer in 1970.

    A collection of Mekas' Village Voice pieces over the past decade, Movie Journal provides a chronicle of the birth and infancy of the new genre he baptised as the New American Cinema.Here are perceptive discussions of Markopoulos, Brakhage, Jack Smith, Antonioni, Anger, and Breer; lacerating comments on Hollywood film; exhortations to young film-makers, unabashedly ecstatic reviews. Unlike most film criticism, Movie Journal sees its subject not as a seperate, extracultural phenomenon, but as the lens of a kaleidoscopic new culture. Consistently rejecting the false for the true, the ugly for the beautiful, the trite for the meaningful, Mekas' passionately honest and human vision provides a unique and total trip through the sensual world of a new art.

    Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.

    Selznick was a unique figure in the golden Hollywood studio era. He produced some of the greatest and most memorable American films ever made--notably, Rebecca, A Star Is Born, Anna Karenina, A Farewell to Arms, and, above all, Gone With the Wind. Selznick's absolute power and artistic control are evidenced in his impassioned, eloquent, witty, and sometimes rageful memos to directors, writers, stars and studio executives, writings that have become almost as famous as his films. Newsweek wrote, I can't imagine how a book on the American movie business could be more illuminating, more riveting or more fun to read than this collection of David Selznick's memos.

    A pioneer of stop-motion animation he has won countless awards, including a star on the Hollwood Walk of Fame, and inspired numerous film-makers, such as Stephen Spielberg, George Lucas and Peter Jackson. Ray’s story has been told in books such as An Animated Life and many of his concept drawings and models have appeared in The Art of Ray Harryhausen (both of which books were also published by Aurum). This new book reveals a wealth of fascinating artefacts relating to his films that has never been seen before, many of them recently discovered in a garage in Los Angeles. Designed in the form of a scrapbook, it provides a visual feast for Harryhausen fans. There are models from unrealized projects, such as dinosaurs from the unfinished film Evolution; prints of outtakes from various films including The Beast from 20,000 Fathoms; early concept drawings and storyboards; colour transparencies of Ray at work; written artefacts such as letters and production budgets and a diary that details Ray’s first meeting with his mentor Willis O’Brien; early film treatments and script extracts; publicity posters and brochures; and much, much more. Some of the items show Ray’s earliest artistic endeavours such as watercolours painted when he was 15 years old and marionettes of creatures from King Kong that he made when he saw the film in 1933. Organized into themed chapters covering the different genres that Ray worked in, each film is given a brief introduction and every image has a detailed caption. In many cases images are juxtaposed to show how a creature or effect evolved or to compare a concept drawing with a still from the finished film. The result is a treasure trove of rare artefacts and material which not only offer new insights into how Ray created particular effects, but bring the worlds of his films to life in a new way and paint a fascinating visual portrait of the man himself and his creative imagination. This is a must for every Ray Harryhausen fan.

    

    Apart, each was individual, brilliant. Together, they were ineffable; for the first and only time on the screen, a profound partnership was created by the act of dancing.In The Fred Astaire & Ginger Rogers Book, Arlene Croce gathers together a thousand fascinating facts and production details about the nine (plus one) Astaire-Rogers movies and marries them to a dazzling, comprehensive analysis of all the Fred and Ginger numbers from those films. Lavishly keyed into the text at appropriate points are over 100 related photographs plus two unique flip sequences: the glorious "Waltz in Swing Time," the pounding "Let Yourself Go."Here is the definitive book on a memorable alliance. Fred and Ginger are together again!

    22). The definitive review of producer Val Lewton's legendary films (which included "I Walked with a Zombie" and "Cat People," among others).

    

    Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs commonsense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins advances a film theory, based on the work of Bazin and other early film theorists, that is rich with suggestion for debate and further pursuit. Sit beside Perkins as he reacquaints you with cinema, heightens your awareness, deepens your pleasure, and increases your return every time you invest in a movie ticket.

    

    This book aims to rectify that and, through a survey of his career, to re-establish Sirk as one of the great stylists of Hollywood cinema.In 1937 Sirk left Germany, after a successful career in theatre and film, and came to Hollywood. From 1942 to 1958 he directed some 30 films, the most famous of which were a series of lush melodramas in the '50s, which were seen at the time as vehicles for stars such as Rock Hudson and Lana Turner. These films are now seen as perceptive dissections of the repressive conventions underlying American life, revealing a disintegrating society - a society of pretence and illusion, befogged by alcohol. Sirk's films are many-layered, the style transcending the melodrama and transforming the material into works of art.

    In a collection of witty and incisive interviews, the renowned film director speaks out on some of his great screen classics--including My Fair Lady, A Star Is Born, Philadelphia Story, and Lust for Life--and the stars with whom he worked, such as Judy Garland, Katherine Hepburn, Jimmy Stewart, Mari

    It includes a new Introduction by Ben Lawton that discusses the relevance of the book on the 30th anniversary of the author's death. It also features the first approved translation of "Repu- diation of the 'Trilogy of Life'," one of Pasolini's most con- troversial final essays. While Pasolini is best known in the U.S. as a revolutionary film director, in Italy he was even better known as poet, novelist, playwright, political gadfly, and scholar of the semiotics of film. "New Academic Publishing should be commended for making this expanded version of Pier Paolo Pasolini's Hermetic Empiricism once again available to the English-speaking public, especially in the light of the fact that the important essay, "Repudiation of the Trilology of Life," has been added to its contents. Thirty years after Pasolini's violent death on 2 November 1975, the appearance of this excellent translation and edition of his major writings on Italian film, literature, and language is most welcome. No figure has emerged in Italy since the writer/director's death that has aroused such passionate opinions from all sides of the political and cultural spectrum. The translations by Ben Lawton and Louise Barnett render Pasolini's sometimes complex prose accurately with ample explanatory notes to guide the reader without a firm grasp of the original essays in Italian. This book represents an important work to have in every library devoted to cultural criticism, cinema, and literary theory." -- Peter Bondanella, Distinguished Professor of Comparative Literature and Italian, Indiana University "One of the greatest cultural figures of postwar Europe, Pier Paolo Pasolini (1922-1975), who is already widely known as a revolutionary filmmaker, was an equally important writer and poet. Pasolini's numerous works are published in some 50 volumes, which include poetry, novels, critical and theoretical essays, verse tragedies, screenplays, political journalism, and translations. With this successful and complete translation of Empirismo eretico (a collection of Pasolini's interventions on language, literature, and film written between 1964 and 1971), editors Barnett and Lawton have made a wide sample of Pasolini's most significant theoretical work available to the English-speaking reader. Essays on the screenplay, on the commercial and the art cinema, and on film semiotics make the collection of special interest to American film scholars and students. This volume is further enriched by an excellent introduction, carefully edited notes, a useful biographical glossary, and a thorough index. Given the contemporary interest in studying film, together with other cultural forms, within a broad social and historical context, Pasolini's "extravagantly interdisciplinary" writings beckon as a promising source of insight. A potentially seminal text that could contribute to the further evolution of interdisciplinary humanistic studies, Heretical Empiricism is highly recommended for university and college libraries." -- J. Welle, University of Notre Dame, CHOICE (1989)

    Verbal and visual gems from the films of Abbott & Costello.

    A practical study of the art and craft of lighting for the screen, assuming no previous knowledge or experience and covering all aspects of the craft, from the basic physics of illumination to everyday practicalities.

    

    Devoted to homosexuality in films, it aims to look beyond the obvious and to observe the psychology of sex roles, at the same time recognising film as the realm of contemporary mythology. Tyler was once described as one of the most consistently interesting and provocative writers on film that America has produced, well-informed and free of cant.

    

    

    

    

    

    History and reprints from Photoplay magazine, one of the first fan magazines to follow the careers and personal lives of motion picture actors and actresses from the early 1900's to the 1940's.

    

    A Reconstruction of the Film in 348 Still Photos Following the Original Screenplay Plus 52 Production Stills.

    

    Bowers. June Allyson was born in the Bronx, Edward Arnold once considered running for Republican Senator from California. Brawny Wallace Beery entered show business as a chorus boy. At 61, Marie Dressler made a major comeback and became MGM’s highest paid star. A clerk in MGM’s legal department saw young Ava Gardner’s photo in the window of a New York photographer and distributed 60 copies throughout the MGM offices. Stewart Granger’s real name was James Stewart (any wonder why he changed it!) These are just some of the thousands of cinematic facts in The MGM Stock Company: The Golden Era. This reference directory to gigantic MGM—home to “more stars than are in the heavens”—is a cornucopia of film lore, with carefully detailed biographies and career studies of nearly 150 studio greats from June Allyson to Robert Young. This volume also stars Fred Astaire, Mary Astor, Lew Ayres, Lucille Ball, all three Barrymores, Leslie Caron, Joan Crawford, Marion Davies, Jimmy Durante, Nelson Eddy, Clark Gable, Greta Garbo, Greer Garson, John Gilbert, Jean Harlow, Helen Hayes, Katharine Hepburn, Lena Horne, Van Johnson, Gene Kelly, Hedy Lamarr, Angela Lansbury, Mario Lanza, Myrna Loy, Jeanette MacDonald, Robert Montgomery, Maureen O’Sullivan, Walter Pidgeon, Eleanor Powell, Jane Powell, William Powell, Luise Rainer, Mickey Rooney, Rosalind Russell, Norma Shearer, Red Skelton, Ann Sothern, Elizabeth Taylor, Robert Taylor, Franchot Tone, Spencer Tracy, Lana Turner, Robert Walker, Johnny Weismuller, Esther Williams, and nearly 100 more of the film lot’s magical stars and beloved supporting players. Also included are feature film listings for each talent profiled. Rich in quotes from the stars themselves, replete with fascinating salary statistics and contemporary reviews, The MGM Stock Company: The Golden Era is an anatomy of Hollywood’s greatest studio and its glittering array of contracted notables during the lot’s magical heyday.