If someone vomits watching one of my films, it's like getting a standing ovation. Thus begins John Waters's autobiography. And what a story it is. Opening with his upbringing in Baltimore ("Charm City" as dubbed by the tourist board; the "hairdo capital of the world" as dubbed by Waters), it covers his friendship with his muse and leading lady, Divine, detailed accounts of how Waters made his first movies, stories of the circle of friends/actors he used in these films, and finally the "sort-of fame" he achieves in America. Complementing the text are dozens of fabulous old photographs of Waters and crew. Here is a true love letter from a legendary filmmaker to his friends, family, and fans.

    Praised by the Chicago Tribune as "an impressive study" and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film.

    Andre Gregory is an intense, highly experimental theater director and playwright in search of life's meanings and spiritual revelations. His friend, Wally Shawn, is an actor and playwright living in New York who is more preoccupied with the search for his next meal. As Andre recounts his global journeys involving esoteric theatrical experiments and mystical adventures, Wally listens with more than skepticism, as his attitudes shift among wonder, puzzlement, admiration, and anger. What finally emerges is a sensitive portrait of a friendship that survives and transcends contransting assumptions about love, death, art, and man's continuing quest for self-fulfillment.

    A guide to more than one hundred of the most popular and controversial cult classic films ever made includes coverage of All About Eve, Tarzan and His Mate, and The Texas Chainsaw Massacre.

    Here, the author examines 100 all-time favorites to discover their particular appeal.

    The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

    

    From Billy Wilder, Douglas Sirk, Robert Aldrich, and Howard Hawkes to Martin Scorsese, Roman Polanski, and Paul Schrader, the noir themes of dread, paranoia, steamy sex, double-crossing women, and menacing cityscapes have held a fascination. The features that make Burt Lancaster, Joan Crawford, Robert Mitchum, and Humphrey Bogart into noir heroes and heroines are carefully detailed here, as well as those camera angles, lighting effects, and story lines that characterize Fritz Lang, Samuel Fuller, and Orson Welles as noir directors.For the current rediscovery of film noir, this comprehensive history with its list of credits to 112 outstanding films and its many illustrations will be a valuable reference and a source of inspiration for further research.

    Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film — “the comedy of remarriage” — and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence.Included are Adam’s Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.

    Alice Guy Blach� was not only the world's first female director, but in 1896, she became the first of either sex to direct a fictional film. As the first director with the Gaumont Company in Paris, Alice Guy Blach� served as an influential figure in French film history, making more than 300 films, including some of the earliest sound subjects from the turn of the century. She continued her career in the United States, founding the Solax Company in 1910, and producing and directing 350 more films. Complementing the text are reprints of contemporary articles on Alice Guy Blach� from the American trade press, a reminiscence by her daughter, a brief evaluation of the career of her husband, Herbert Blach� and a complete filmography.

    Recounts the plots of the 1954 film and its two sequels which followed the career of an unfriendly half-man, half-fish creature discovered in a Brazilian lake.

    

    This fascinating presentation is profusely illustrated with specially-selected storyboards used in the production. These storyboards are the tools used to craft an incredibly believable panorama of the future. Relive the movie excitement with this collector's edition.In addition, a foreword by Ridley Scott describing the unique metamorphosis of art and story into an inspired cinematic style.

    Recounts the plots of the 1932 Boris Karloff thriller "The Mummy" and of several later films in which ancient mummies return to life.

    It moves from the earliest sound of music on film in the late 1920s, to the driving beat of today. It covers the legendary stars of the musical film and recalls hundreds of memorable moments.

    The complete screenplay, directed by Elia Kazan.

    A werewolf who wishes to be released from his curse and die visits Frankenstein's ruined castle to learn the secrets of life and death.

    His rejec­tion of the script sent Elia Kazan and Budd Schulberg on a seemingly hopeless quest for a producer to make their film. Both Kazan and Schulberg had been bit­ten by the waterfront bug, Kazan having aborted a project he had begun with Arthur Miller, and Schulberg having a possible dra­matization of Malcolm Johnson’s Pulitzer Prize-winning series of articles, Crime on the Waterfront, fail to materialize. With their decision, Schulberg went down on the docks to research the more than 750 miles of shoreline containing 1,800 piers. Over a year of research had gone into the script Schulberg and Kazan carried from stu­dio, to studio, to studio. Their despair was made whole when the Hollywood Reporter re­ported their grim odyssey in a gossip col­umn. They retreated to their hotel room, and Schulberg booked an early flight East. At this point Sam Spiegel dropped in to invite them to a party in his room across the hall and learned of their plight. A story session in Spiegel’s room at seven in the morning with Spiegel in bed, sheet and blanket drawn up under his chin, wrested a murmured, “I’ll do it. We’ll make the picture.”

    Moving Pictures is his fascinating remembrance of growing up amidst the glamour, swank, courage, triumphs, defeats, cabals, and double-crosses of an industry in the making. His utterly candid account includes unsparing portraits of outsized characters in all their power, venality, charm, pettiness, and vindictiveness. As a book on the early days of the movies in Hollywood, this one is hard to beat. Abundantly illustrated with black-and-white photographs.

    Ask any question if you'd like specifics about the book's condition

    The clear and current illustrations and photos and student-friendly writing in Alten's market-leading text have helped professors effectively teach this technically-based course to thousands of introductory audio production students. Comprehensive, technically accurate, and up-to-date, the text covers informational, perceptual, and aesthetic aspects of sound as they apply to each stage of the production process-from planning to post-production.

    

    a model of genre criticism and probably the best overall analysis of the film musical to date." Journal of Popular Films and Television"The American Film Musical is a truly admirable book which is well worth making a song and dance about. It will immediately assume biblical authority for all who are seriously interested in the dream-factory's most lavish fantasies, and it may even come to stand as a landmark in our understanding of Hollywood as a whole.... Altman's book is thorough, well informed and warmly good-humored. It has brought the study of musical films out of the dark ages." Times Literary Supplement..". an important addition to both literature and film collections.... a landmark study." Library Journal"Altman's important study of the American film musical combines genre theory with film criticism and history.... Recommended... " ChoiceThe American Film Musical is at once the most advanced statement on genre theory and the most complete treatment of the American musical. Altman's unique interweaving of theory, history, and criticism represents an original and challenging contribution to film studies. Illustrated with over 200 frame enlargements and production stills.

    Christopher Frayling approaches the Westerns produced at Cinecitta Studios in Rome from a variety of perspectives, placing them in the Italian, social, political, industrial and cinematic contexts from which they evolved. Over 400 Spaghetti Westerns were produced during their 1960s peak period; Frayling deals with the most interesting examples, giving special attention to the films of Sergio Leone and Clint Eastwood.

    

    

    

    'La Passion de Jeanne d'Arc,' Vampyr', 'Day of Wrath,' and 'Gertrud' are the most famous works of this rigorous, austere, and powerful filmmaker. In the most extensive and intensive book yet devoted to Dreyer, David bordwell shows how Dreyere's films offer unique challenges to the dominant filmmaking style. He analyzes how Dreyer confronts the viewer with problems of attention, orientation, and narrative comprehension. In the early works, flat tableau compositions alternate with intensively active facial close-ups to shift our attention from physical action to psychological states. In the late masterpieces, Dreyer's style achieves its great complexity, compellingus to concentrate on nuances of space and time...in 'Jeanne d'Arc,' the close-up and a discontinuous space; in 'Vampyr,' an uncertain topography and wrenching camera movements; in 'Day of Wrath,' a circular staging of the action and a slowing of viewing time; in 'Ordet,' a theatrical use of the long take; and in 'Gertrud' an obstinate stasis that verges on boredom. Bordwell shows that Dreyer's style achieves its unique force by violating our expectations and by organizing our film experience in radically new ways. All of Dreyer's works are discussed. Over 300 frame enlargements to clarify points of technique, Bordwell also examines the Hollywood filmmaking style, the concept of authorship in the cinema, and principles of narrative construction.

    But even as the dinner preparations are underway, servants feel compelled to leave. Despite threats of dismissal, the footman also leaves, and, as the guests arrive other servants escape. Dinner is served and hours pass, but the guests do not leave. Finally, each refusing to be the first to leave the party, distrust sets in, and the guests turn on their host, blaming him for their self-induced captivity.One of Bunuel’s most sardonically humorous and visually dazzling of movies, Exterminating Angel reveals itself as a screenplay to be also a linguistically brilliant satire of social aspirations. This 1962 film presents in self in script form as a great work of literature.

    From the documentary to the cinema novo and cannibalism, from Nelson Pereira dos Santos's Vidas Secas to music in the films of Glauber Rocha, this third, revised edition is a century-spanning introduction to the story of a medium that flourished in one of the most developed of 'underdeveloped' nations.