By the time the film opened on December 15, 1939, the anticipation and excitement were so great that the city of Atlanta declared the day an official holiday. Since then, more than 300 million people have seen the film and every year hundreds of thousands of copies of the novel are sold in dozens of languages.This lavishly illustrated book is the ultimate behind-the-scenes history of the novel, the film, and the phenomenon of "Gone With the Wind." It includes wonderful anecdotes, original quotes from the stars and the directors souvenir programs from the original premiere, many rare never-before published photographs, and more, from the smell of the smoke and the heat of the flames during the filming of the "burning of Atlanta" sequence to the soft touch of the red dust at the location Tara; from the fangue on the faces of cast and crew after grueling months of shooting to the thrill of premiere night, you will experience the unfolding drama as if you were there.

    Presents the screenplay of the classic cult film by Bruce Robinson, with an introduction by the director.

    Winner of three Academy Awards and numerous other prizes for his animated films, Chuck Jones is the director of scores of famous Warner Bros. cartoons and the creator of such memorable characters as the Road Runner, Wile E. Coyote, Pepe Le Pew, and Marvin Martian. In this beguiling memoir, Chuck Jones evokes the golden years of life at "Termite Terrace," the Warner Bros. studio in which he and his now-famous fellow animators conceived the cartoons that delighted millions of moviegoers throughout the world and entertain new generations of fans on television. Not a mere history, "Chuck Amuck" captures the antic spirit that created classic cartoons-such as Duck Dodgers in the 241/2 Century, One Froggy Evening, Duck Amuck, and What's Opera, Doc?-with some of the wittiest insights into the art of comedy since Mark Twain.

    This new revised and expanded edition features great photos throughout, with chapters on: Preparation, In Front of the Camera - Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more. "Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!" - Gene Siskel

    They worked together once, in the film Whatever Happened To Baby Jane, but their real-life dislike of one another transcended even the antagonism depicted in the film.

    

    Louise Brooks left Wichita, Kansas, for New York City at age fifteen and lived the kind of life of which legends are made. From her beginnings as a dancer to her years in Hollywood, Berlin, and beyond, she was hailed and reviled as a new type of woman: independent, intellectually daring, and sexually free. In this widely acclaimed, first and only comprehensive biography, Barry Paris traces Brooks's trajectory from her childhood through her fall into obscurity and subsequent "resurrection" as a brilliant writer and enduring film icon.

    Ideal for film production and directing classes, as well as for aspiring and current directors, Directing covers all phases of preproduction and production, from idea development to final cut. Thoroughly covering the basics, Directing guides the reader to professional standards of expression and control, and goes to the heart of what makes a director. The book outlines a great deal of practical work to meet this goal, with projects, exercises.The third edition emphasizes the connection between knowing and doing, with every principle realizable through projects and exercises. Much has been enhanced and expanded, notably: aspects of dramaturgy; beats and dramatic units; pitching stories and selling one's work; the role of the entrepreneurial producer; and the dangers of embedded moral values. Checklists are loaded with practical recommendations for action, and outcomes assessment tables help the reader honestly gauge his or her progress. Entirely new chapters present: preproduction procedures; production design; script breakdown; procedures and etiquette on the set; shooting location sound; continuity; and working with a composer. The entire book is revised to capitalize on the advantages offered by the revolutionary shift to digital filmmaking.

    This revised edition contains material on GoodFellas, Cape Fear, The Age of Innocence, and other projects up to Casino.

    Spike Lee burst full formed into the screen world with his award-winning, commercially successful independent film She's Gotta Have It. In the few short years following this stellar debut he has established himself as a force to be reckoned with in the film industry and in American popular culture. This book reveals Spike Lee as a Hollywood iconoclast and gifted visionary and takes us though the dramatic sequence of events that brought the movie Do The Right Thing to fruition. It is a testimonial to his developing genius, written in the stingingly funny and informed language of Spike Lee.

    cartoons but were afraid to ask, this complete and indispensable reference will delight adults, children, and audiences all over the world.

    More than 240 pictures in striking duotone celebrate these exhilarating comedies.

    The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.

    He also made comedies, musical fantasies, detective films, and documentaries. He was an exceptionally versatile artist who won almost every major prize in cinema, including a lifetime achievement Oscar in 1992. This is the best-known biography of the film giant, based on extensive interviews with Ray himself, his actors, collaborators, and a deep knowledge of Bengali culture. This second edition contains extensive new material covering Ray's final three films made in 1989-1991, a discussion of his artistic legacy, and the most comprehensive bibliography of Ray's own writings.

    It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve.Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques--a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.

    "In an age when the lexicon of cinema is largely visual," noted Samuel G. Freedman in the New York Times Magazine, "Foote writes films. He stresses dialogue and character development rather than spectacle or even traditional narrative."Each of the three screenplays sprang from a different origin. One was adapted from the novel by Harper Lee, who later wrote, "If the integrity of a film adaptation is measured by the degree to which the novelist's intent is preserved, Mr. Foote's screenplay should be studied as a classic." Tender Mercies was conceived for the screen, and The Trip to Bountiful came from Foote's own stage and television play. While each demanded solutions to different cinematic problems, all are marked by Foote's own mastery of the screenwriting form, as well as his understanding of human relationships. All three show a modern Chekhov at work, revealing the deep currents of American society through the simplest details of daily life.

    The cultish humor, original characters, fresh cinematography, catchy soundtrack, and zany yet well-structured plot to be found in this film are all Coen brothers trademarks. Nicholas Cage plays a veteran criminal who marries a prison guard named Edwina (Holly Hunter). Because he and his wife cannot conceive, our convict-hero kidnaps, with only the most earnest intentions, one of the famous "Arizona Quintuplets." A hellacious bounty-hunting biker and two old pals who have just escaped from the pen make it very hard for the couple to raise their child properly.This is a movie—and a screenplay—marked by breathless chases, improbable scenes, and hilarious dialogue throughout.

    He was hired by movie mogul Sam Goldwyn in 1920 to photograph publicity stills of the studio's stars. Four years later, when Metro-Goldwyn-Mayer was founded, Bull was appointed as the head of their stills department where he remained throughout his career. During that time he took portraits of the most celebrated Hollywood film stars, however, he is particularly known for his photographs fo Greta Garbo who was almost exclusively photographed by Bull from 1921 to 1941. This book highlights Bull's 40-year career at MGM with nearly 200 of his enduring portraits of filmstars such as Clark Gable, Joan Crawford, Vivian Leigh, Spencer Tracy, Elizabeth Taylor, Grace Kelly and Katherine Hepburn. This monograph presents an array of star portraits as well as a history of Hollywood in its heyday. The book will accompany a major exhibition organized by the National Portrait Gallery in collaboration with the John Kobal Collection and American Express.

    Clarke: "Any sufficiently advanced technology is indistinguishable from magic." This elegant, richly illustrated book tells the story of animation from its 18th-century beginnings as a magic lantern show (a box with a lamp and a mirror) to the creation of Jurassic Park and The Lion King.

    Robinson has directed as well as written both Withnail and I and How to Get Ahead in Advertising.Some copies of this book appear to share an ISBN with an edition of Mrs Frampton by Pam Gems, also published by Bloomsbury in 1989.

    250 black-and-white photographs and 15 color photographs.

    Now he shares his vast knowledge of genre-film culture in this fascinating collection. Kane has compiled more than twenty-five hundred reviews of horror, camp, sexploitation, sci-fi, thriller, and action films, along with exclusive interviews with some of the industry's giants -- Jackie Chan, Pam Grier, Wes Craven, John Waters, and John Carpenter, to name just a few.Kane's writing is irreverent, informative, incisive, and entertaining. Not only is The Phantom of the Movies'® VideoScope chock-full of reviews and interviews, it also includes insightful sidebars covering video trends, complete ordering information, DVD availability, and Internet resources. This is the ultimate video guide that all movie buffs must have in their collections.

    For the 1999 edition, Williams has written a new preface and a new epilogue, "On/scenities," illustrated with 25 photographs. She has also added a supplementary bibliography.

    Video Trash & Treasures is about to take you on a reconnaissance mission into the Video Unknown."She's back from the grave, Eddie, and she knows things we don't know."Listing more than 500 movies that fill your local video store's shelves, arranged into 26 outrageous "Film Festivals" devote to your favoriteAliens, Zombies, Mutants and MonstersApocalyptic Adventures and Epics of Pecs and FlexCheesy Trash and Classic Sleazeas well as buried treasures of small movies that deserve bigger audiences, cult favorites, and genuine curiosities likeCannibal Women in the Avocado Jungle of DeathMorons From Outer SpaceSorority Babes in the Slimeball Bowl-a-Rama* * *"If you could see inside my head--you'd run."As the author of The Flesh Eaters, The Old Dick, The Big Enchilada and Sleaze, L.A. Morse has some passing familiarity with trash, and he knows that it's not all created equal. He risked boredom, eyestrain, and almost certain brain damage to sort out good trash from bad, and to make sure you'll never again have to leave the video store empty-handed.

    Discusses the historical context and the political, psychological, and autobiographical aspects of specific films, and traces overall characteristics of his film care

    Presents the history of the Academy of Motion Picture Arts and Sciences along with coverage of each year's Academy Awards from 1928 to the present.

    Charles Maland focuses on the cultural sources of the on-and-off, love-hate affair between Chaplin and the American public that was perhaps the stormiest in American stardom.

    Unlike other scholars who discuss these practices as totally separate from Hollywood, James argues that they were developed in various kinds of dialogue or negotiation with the commercial film industry. He also demonstrates that the formal properties of the films were determined not simply by aesthetic considerations but by the functions the films served in the various subcultures and dissident groups that produced them. After an opening chapter on film hermeneutics, the book gives detailed accounts of the contrary projects of two exemplary filmmakers: Stan Brakhage, who pioneered an artisanal, domestic film practice, and Andy Warhol, who redirected such a practice toward the film industry. James then discusses the beats and other idealist countercultures, the social groups that formed around civil rights and the Vietnam War, artists who shunned social involvement for pure film ("structural" film), and finally the women's movement.

    The films are presented in chronological order, with full cast and credits, synopses and evaluations. Biographical details on the three most famous screen Chans--Warner Oland, Sidney Toler, and Roland Winters--and background information on series directors and supporting players, insights into the making of the films, and the full story of the abrupt halt in 1949 as well as an array of the detective's aphorisms (or Chan-o-grams) are included. Numerous photos throughout.

    When it was first aired in the mid-sixties, it struck the funny bone of all children. Many of those youngsters of the sixties are parents with children of their own who have nurtured a love for the classic show. The Munsters: Television's First Family of Fright - the ultimate fan's guide that chronicles the popular show and its loveable characters - is now updated, revised, expanded and dressed up in a beautiful new format suitable for the twenty-first century. A look at the legacy of The Munsters, the book includes character sketches, cast biographies, interviews with the creators, special filming techniques, stories about the show's unusual make-up requirements, an episode guide, photographs and close-up looks at the house that Herman built, the Munster Motors' Koach (the family car) and Grandpa Munster's Dragula (his dragster).Features in this edition include: Behind-the-scenes details; Fascinating new Munsters trivia; Accounts of reunions with the original cast; The locations where original props and costumes can be found; Merchandise of the show and its characters; Later incarnations of The Munsters, including two television movies; Current photographs and interviews with the surviving original cast; 16 pages of full-colour photographs, many never before published

    These films were frequently compared because of the themes and techniques they had in common, among them their defiance of conventional structure and their indictment of postwar Italy's miraculous economic recovery, which they exposed as empty materialism. The similarities between the two films--Federico Fellini's La dolce vita and Michelangelo Antonioni's L'avventura--are not, however, as great as their differences.The newly translated continuity script is more accurate and complete than any previously published for this film. This volume contains, in addition to Chatman's introduction, a biographical sketch by Guido Fink, a production history of the film, the director's comments on the film, reviews and commentaries (including an exchange between Roland Barthes and Antonioni), and a filmography and bibliography.

    She argues that the war, instead of leading to a reexamination of the US value system, has spurred a revitalization of the traditional values of capitalism and bourgeois individualism.

    At the editing stage MGM took control and mangled the film out of recognition. The book includes essays by von Stroheim and his crew about the rigours of early location filming.

    

    How can Hitler and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s--a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for national identity.To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jurgen Syberberg's Hitler, a Film from Germany, a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun, the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother, relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot, a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat, a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the provinces.Despite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film.

    The information contained in this book unites the role of the screenwriter and the artistic bases of motion pictures to provide the first complete approach to the craft. The Screenplay is written in an engaging manner, inviting the reader to develop their writing and creative abilities through projects and challenging exercises. This book also features illustrative excerpts from such successful screenplays as Witness, Out of Africa, Body and Soul, Beverly Hills Cop, Rebel Without a Cause, and An Officer and a Gentlemen.

    A reader says "this is not a fun book ro read."

    A fascinating portrait of the early silver screen through interviews with ten of its most glamorous stars.

    

    A taut, convoluted plot and imaginative direction made the independent release a word-of-mouth hit and established the Coen brothers' reputation for originality. Actors John Getz, Frances McDormand, and Dan Hedaya appear in the story in which a woman commits adultery, and her enraged husband hires a killer for revenge. Blackmail, violence, and mistaken assumptions lead to an edgy, exhilarating climax.

    The suspense of the film lies in discovering, along with Miles, the central character (played by Kevin McCarthy), who is "real" and who is not, and whether Miles and Becky (played by Dana Wynter) will escape the pod takeover. As the center of the film moves outward from a small-town group of neighbors to the larger political scene and institutional network (of police, the FBI, hospital workers), the ultimate question is whether "they" have taken over altogether. Although Invasion can be interpreted in interesting ways along psychological and feminist lines, its importance as a text has centered primarily on political and sociological readings. In his introduction to this volume, Al LaValley explores the politics of the original author of the magazine serial story on which the film is based, Don Siegel; and of its screenwriter, Daniel Mainwaring. And he looks at the ways the studio (Allied Artists) tried to neutralize certain readings by tacking on an explanatory frame story. The commentary section includes readings by Stephen King, Peter Biskind, Nora Sayre, and Peter Bogdanovich. A section of postproduction documents reproduced here (many for the first time) includes many written by Wanger and Siegel. The volume also contains two previously unpublished framing scripts written for Orson Welles. For students and individual enthusiasts, the contextual materials are particularly interesting in showing how crucial the postproduction history of a film can be. A filmography and bibliography are also included in the volume. Al LaValley is the director of film studies at Dartmouth. He is the author of many articles on film and editor of Mildred Pierce in the Wisconsin screenplay series.

    Its early years have understandably received a lot of attention, but, as Nick Browne points out in his introduction to this volume, Cahiers du Cinema published tremendously important articles even after its legendary heyday. The pieces reprinted here, most of them translated into English for the first time, document the changes in French film theory and criticism after the events of May 1968. Between 1969 and 1972, Cahiers du Cinema became a radical Marxist journal. Its contributors interpreted the political ideology of films and filmmaking even as they continued to debate the work of major international directors. Included here are theoretical pieces as well as fresh assessments of films by Sergei Eisenstein, Josef von Sternberg, Luchino Visconti, George Cukor, and many others.

    Looking at popular British film in the 1940s, "Realism and Tinsel" goes beyond the established histories of the Ealing Comedies to excavate a rich tradition of melodrama, morbid thrillers and costume pictures.

    16 pages of photos.

    Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision -the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film - cinema and television - are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible.Audiovisions provides a historical underpinning for this active approach. Spanning 100 years, from the end of the 19th to the end of the 20th century, it reconstructs the complex genesis of cinema and television as historically relative - and thus finite - cultural forms, focussing on the dynamics and tension in the interaction between the apparatus and its uses. The book is also a plea for "staying power" in studies of cultural technology and technological culture of film.Essayistic in style, it dispenses with complicated cross references and, instead, is structured around distinct historical phases. Montages of images and text provide supplemental information, contrast, and comment.