This volume contains the complete screenplay as well as a behind-the-scenes look at how the Oscar-winning movie was made, by one of its writers, Howard Koch. Charles Champlin, Roger Ebert, Umberto Eco, and others contribute incisive analyses of the movie's timeless appeal, and twenty-five beautifully reproduced stills capture the dramatically charged scenes of this true American classic.

    From The Birth of a Nation--the groundbreaking work of independent filmmaker Oscar Micheaux--and Gone with the Wind to the latest work by Spike Lee, John Singleton, Denzel Washington, Halle Berry and Will Smith, Donald Bogle reveals the ways in which the depiction of blacks in American movies has changed--and the shocking ways in which it has remained the same.

    Fully illustrated with great photographs.

    The radical complexity of his work--in both sound and silent forms--has given it a central place within contemporary theoretical inquiry. Vertov's writings, collected here, range from calculated manifestos setting forth his heroic vision of film's potential to dark ruminations on the inactivity forced upon him by the bureaucratization of the Soviet state.

    

    Groucho, Harpo, Chico and Sometimes Zeppo: A History of the Marx Brothers and a Satire on the Rest of the World

    The motion pictures of that era, stumbling perhaps across a new poetics, projected gorgeous fantasies which soared beyond the plots and elaborate sets, even beyond the luminous glamour of the stars. Once on film, subjects have a beguiling sense of drifting through space as through painted by a casual barely visible presence. And in truth, the visual intelligence behind these films was often one of genius; genius which could dream and still control a new technology.

    

    THE 400 BLOWS ANTOINE AND COLETTE STOLEN KISSES BED AND BOARD LOVE ON THE RUN

    Taking in the sights of Jamaica before returning to Pinewood Studios, Moore’s razor wit and unique brand of humour is ever present. With tales from every location, including his encounters with his co-stars and key crew members, Moore offers the reader an unusually candid, amusing and hugely insightful behind-the-scenes look into the world’s most successful film franchise.

    This is a large format coloring book depicting colorable illustrations of famous monsters (Dracula, Frankenstein, The Creature From The Black Lagoon) along with a description

    David Pirie’s acclaimed 'A Heritage of Horror'  was the first book on the British horror movie, and the first to detect and analyse the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.'  It has long been regarded as a trail-blazing classic, “having the force of a revelation”, according to one recent study of the subject, and heralded by  Michael Powell and Martin Scorsese.Now with 'A New Heritage of Horror', David Pirie has revised his original work, bringing the story up to date and into the 21st century.  Alongside the classic films of the twentieth century, all explored within the full context of their production and appearance on our screens, he examines the latest horror boom, inaugurated by such films as 'The Others' and '28 Days Later'.  He has also uncovered fresh documentation from the original files for this new edition, to add more revelations abuot the history of UK horror and Hammer Films, not least the largely untold story of their desperate battles against censorship.  He has further up-dated the original text and added new illustrations.  'The New Heritage of Horror' promises to be one of the key film books of 2008.

    Because of political problems, however, he was able to complete only seven feature-length films; these include his major works, "Zvenihora, Arsenal, " and "Earth." "The films that I did complete," he says, "I made with love and sincerity. In those films lies the primary meaning of my life. They are meant to be poetic films, and contemporary life, with the common man at its center, is their chief subject."This book is a translation of the following portions of Dovzhenko's writings: His "Autobiography, " which appears here for the first time in English and in which he writes, "My parents had many children--fourteen in all, a variable group of whom two survived, myself and my sister Polina, who is now a doctor. The other children died at different times, hardly any of them reaching working age. Now, when I think of my childhood and of my home, whenever I remember them, in my mind I see crying and funerals.... I still cannot bear to look at funerals, and yet they pass through all my scripts and all my pictures, for the question of life and death affected my imagination when I was still a child and left its imprint on all my work."Dovzhenko's "Notebooks" combine a diary, a war journal (he was a correspondent in World War II), and sketches for films, stories, plays, and novels. They reveal him to be a gifted writer who incorporated his experience into powerfully visual images that often took epigraphical shape--"hanged men slip from their nooses and shatter like marble statues." "Random shooting. Death without a pose: he fell prone and hiccuped.""The Enchanted Desna" is the first part of a planned autobiographical film tale. It is about Dovzhenko's real and imagined childhood: "We had a grandad who was very much like God. When I said my prayers, I would always look up at the corner where the icons hung to see the picture of Grandad in a robe of old silver foil, while Grandad himself lay on the edge of the stove coughing quietly and listening to my prayers...."He was our good spirit of the meadow and the fish. He could pick more mushrooms and berries than even we children, and he talked to the horses and the calves, to the grass, to the old pear tree and the oak tree--to everything that lived, grew, and moved around us."Filling out this rich portrait of the poet as filmmaker is an introduction by Marco Carynnyk, a bibliography of materials about Dovzhenko, a listing of all his published writings, a filmography that includes all his film projects whether realized or not, and a chronology of his life.

    

    With Marlon Brando and James Dean he inaugurated a new age of screen acting - one closely connected to the New York Method school - which has left a lasting impression on American movies. A Greek immigrant - who immortalized his family's struggle to reach the New World in his film America, America - he was ferociously committed to dealing with the problems that beset American society: trade unions in On the Waterfront; anti-semitism in The Gentlemen's Agreement; media manipulation in A Face in the Crowd; and ecology in Wild River. His demand for an authentic intensity of performance from his actors brought a powerful emotionalism to American movies and created moments of cinema that live forever in the memory. This book chronicles, in his own words, the career of a director who re-defined American film acting.

    

    In this dynamic field, Herb Zettl's SIGHT SOUND MOTION/APPLIED MEDIA AESTHETICS FIFTH EDITION is more applicable than ever. This new edition of SIGHT SOUND MOTION continues to be the most comprehensive book on the market, not only describing the major aesthetic image elements--light and color, space, time-motion, and sound-but also presenting in-depth coverage on the creative ways that they are used in television and film. Zettl's thorough coverage of aesthetic theory and the application of that theory place this contemporary and highly relevant text in a class by itself. Richly illustrated, this edition features strong visuals that often draw on traditional art forms, such as painting, sculpture, and dance.