Tarantino has won awards and accolades around the world, earned a devoted following among critics, actors, and audiences, and paved the way for a new generation of young filmmakers. Tarantino's directorial debut, Reservoir Dogs, hit the screen with a freshness and brutal edge that left critics and audiences stunned. The story of a heist gone wrong, the film weaves a taut and menacing path, laced with bursts of absurd and unexpected humor, as an eccentric cast of urban outlaws attempts to identify the rat in their midst. The film established the groundbreaking aesthetic -- smart-ass, hard-edged, and ultravoilent -- that made Tarantino one of the most sought-after directors in the nation. As Newsweek wrote, "Reservoir Dogs leaves little doubt that you are in the presence of major league talent."

    From such great radio works as "War of the Worlds" to his cinematic masterpieces Citizen Kane, The Magnificent Ambersons, Othello, Macbeth, Touch of Evil, and Chimes at Midnight, Welles was a master storyteller, as expansive as he was enigmatic. This Is Orson Welles, a collection of penetrating and witty conversations between Welles and Peter Bogdanovich, includes insights into Welles's radio, theater, film, and television work; Hollywood producers, directors, and stars; and almost everything else, from acting to magic, literature to comic strips, bullfighters to gangsters. Now including Welles's revealing memo to Universal about his artistic intentions for Touch of Evil, (of which the "director's edition" was released in Fall 1998) this book, which Welles ultimately considered his autobiography, is a masterpiece as unique and engaging as the best of his works.

    In these films, based on the colors of the French flag and the principles of liberty, equality and fraternity--the three ideals of the French Revolution--Kieslowski has crafted three parables of contemporary existence. In "Blue," Julie loses her child and husband in a car crash. In order to shield herself from the intensity of her grief, she strips away all remnants of her former life. This attempt is doomed to failure as music inexorably brings her back to a purpose in life. In "White," Karol, a Polish hairdresser, is divorced and abandoned by his beautiful French wife and finds himself destitute on the Paris streets. He meets a fellow Pole, who ingeniously smuggles him back to Warsaw in a suitcase. Working on the black market, he soon rises to the top of Poland's emerging capitalist class. Still obsessively haunted by the image of his wife, Karol sets out to make her pay the price for her betrayal. The third and final part of the trilogy, "Red," explores a strange, tentative relationship that gradualy grows between a beautiful young model and an embittered, retired judge. It is through the wisdom of her innocence that he finds the courage to engage with life again. Kieslowski brings the trilogy to a close with an event that weaves the disparate threads into a seamless work of art.

    With subsequent movies such as The Dead Zone, The Fly, Dead Ringers and Naked Lunch, Cronenberg demonstrated his ability not only to touch painful nerves but also to invest his own developing genre with seriousness, philosophical dimension and a rare emotional intensity.Cronenberg on Cronenberg charts his development from maker of inexpensive 'exploitation' cinema to internationally renowned director of million-dollar movies, and reveals the concerns and obsessions which continue to dominate his increasingly rich and complex work. This edition, with an additional chapter, follows Cronenberg's work up to the creation of Crash.

    160 illustrations including 100 in color.The Newmarket Pictorial Moviebooks, official companions to films, large format (8 3/8 x 10 7/8), heavily illustrated throughout, with color photographs, details on the making of the film, background on the filmmakers and cast.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    Here are original sketches by costume designer Eiko Ishioka, 90 photographs by David Seidner of the completed costumes, and enlightening commentary by Coppola and Ishioka detailing the creation of the movie.

    The book is complete with historical annotation, with 340 research notes and 97 reactions and commentaries by Norman Mailer, Tom Wicker, Gerald R. Ford, and many others.

    25,000 first printing.

    In addition to his own techniques, photos, and light philosophy, Ross Lowell interweaves the insights and images of distinguished lighting directors, photographers, filmmakers, and classic painters. Some of the subjects explored include: Color Temperature Matters Hearing the Light Lighting Planes Lighting People Meter Matters Finessing the Light Motivating the Light Two-Light Techniques The One-Light Approach Setting Up a Small Studio Superior Exterior Lighting The Art & Craft of Lighting Craft & Art Best Ways to Achieve the Worst Lighting

    The author recalls the '50s, when the invasion of movie houses by monsters became a national youth craze. 140 photos.

    This book combines a with a careful scene-by-scene analysis, a wealth of illustrations and the most complete credits yet assembled.

    Framer Framed brings together for the first time the scripts and detailed visuals of three of Trinh Minh-ha's provocative films: Reassemblage, Naked Spaces--Living isRound, and Surname Viet Given Name Nam.

    By manipulating the cinematic apparatus in unorthodox ways, avant-garde filmmakers challenge the standardized versions of seeing perpetuated by the dominant film industry and generate ways of seeing that are truer to actual human vision.Beginning with the proposition that the images of cinema and vision derive from the same basic elements—light, movement, and time—Wees argues that cinematic apparatus and human visual apparatus have significant properties in common. For that reason they can be brought into a dynamic, creative relationship which the author calls the dialectic of eye and camera. The consequences of this relationship are what Wees explores.Although previous studies have recognized the visual bias of avant-garde film, this is the first to place the visual aesthetics of avant-garde film in a long-standing, multidisciplinary discourse on vision, visuality, and art.

    This collection of new interviews by critic Serge Grünberg examines Cronenberg from his career's uncertain beginnings through his ascendancy to master filmmaker. Cronenberg talks candidly about aesthetics, censorship, sexuality, the straightjacket of political correctness, and the ephemeral sense of reality in an age saturated with mass media. Each of his landmark films is discussed in detail, accompanied by stills, rare handbills and posters, and storyboards that show the creative process at work. Detailing both his textbook masterpieces — works like Videodrome, Naked Lunch, and The Fly — and his more edgy films such as the transsexual romance M. Butterfly and the bloody cyberpunk epic Existenz, these interviews shed light on one of cinema’s most talented and misunderstood creators.

    He also comments on the movie stars he admires—Marlene Dietrich, James Dean, Brigitte Bardot—together with such great directors as Charlie Chaplin and Orson Welles.

    Original.

    "Ikiru "(1952) tells the painful and intimate story of a Japanese civil servant coming to terms with old age and death. In "Seven Samurai "(1954) the inhabitants of a small Janpanese village employ a roaming band of samurai to defend them. In "Throne of Blood" (1957), based on "Macbeth," a samurai is encouraged by his wife to kill his lord.This edition also includes a critical introduction to each screenplay.

    Years before Mickey Mouse, the young entrepreneur recruited and nurtured an extraordinary array of talented people. Drawing on interviews with Disney's coworkers, Disney's business papers, promotional materials, scripts, drawings, and correspondence, the richly illustrated Walt in Wonderland reconstructs Disney's silent film career and places his early films in critical perspective.

    His early films represent the Japanese New Wave at its zenith, and the films he has made since (including In the Realm of the Senses and Merry Christmas, Mr. Lawrence) have won international acclaim. The more than 40 writings that make up this intellectual autobiography reveal a conjunction of personal candor and political commitment. They trace in vivid and carefully articulated detail the development of Oshima's theory and practice.

    Part I includes never-before-published interviews with June Allyson, Lew Ayres, Ralph Bellamy, Rhonda Fleming, Virginia Mayo, James Stewart, and 62 others. Part II provides short bursts of opinion from many principals regarding their movies in the 1940s: Joan Crawford, Bette Davis, Spencer Tracy, Cary Grant, et al.

    The pair confront their expectations of themselves and their attitudes towards women. It was premiered as part of the Official Competition at the 1992 Cannes Film Festival.

    Yet these movies with their all-star horror casts (Carradine, Lugosi, Karloff, et al.) and their ape men, mad monsters, devil bats and white zombies still have a loyal audience 50 years after their release. Essays contain full filmographic data on the 31 horror chillers made by the three studios from 1940 through 1946 and are arranged by year of release. Each entry includes the date of release, length, production credits, cast credits, interview quotes, and a plot synopsis with critical commentary. Filmographies for prominent horror actors and actresses, from John Abbott to George Zucco, are provided in the appendices.

    Queer Edward II is a poetic commentary on the making of this luscious film--a lavish book that leaves no holds barred and brings the film to life with luminous stills from the set.

    His films include Rain Man, Good Morning Vietnam, Bugsy, Tin Men and Toys.

    Little did Humphrey Bogart know when he uttered the final line - "This could be the beginning of a beautiful friendship" - that he had just closed what would be one of the most enduring and popular movies ever. Aljean Harmetz believes that "every movie is a creature built from accidents and blind choices - a mechanical monster constructed of camera angles, the chemistry between actors, too little money or too much and a thousand unintended moments." Her portrait of the making of an unmatched classic reveals some of the accidents: how the stars of the movie almost weren't Humphrey Bogart and Ingrid Bergman; how "As Time Goes By" nearly didn't make it to the final cut.

    He's assured enough not to be cowed by his famous interviewees, but humble enough to let them do most of the talking, Inner Views contains eight length conversations that Breskin held with some of the most prominent modern film directors, many of them caught in the process of making their most important recent works. Francis Ford Coppola reveals the reasons for making The Godfather Part III after sixteen years of refusals. Oliver Stone traces his life from his earliest memories tot he making of JFK. Spike Lee, fresh from the success of Do the Right Thing, talks about the meaning of that movie and of Jungle Fever, which followed it. Robert Altman waxes eloquently on his unique filmmaking process, particularly as it relates to The Player and Short Cuts. And Clint Eastwood, caught just before the release of Unforgiven, gives a lively overview of his career. Throw in engrossing conversations with David Lynch, David Cronenberg, and Tim Burton and you have a book that provides indispensable insight into the live and work of the world's most intriguing filmmakers.

    Hundreds of tapes appraised, feature-length articles on Jess Franco, Dario Argento, Edgar Wallace and Terence Fisher, over 650 retitlings and an index to the first 12 issues of Video Watchdog Magazine.

    It's the ultimate guide to the world of Gene Autry, Roy Rogers, Hopalong Cassidy, Tom Mix, Buck Jones, Hoot Gibson, Ken Maynard, Lash LaRue, and other western matinee-heroes. This seminal work on low-budget series westerns contains 462 rare photographs, a complete B-Western series filmography, and twenty essays.

    The book contains an entertaining and thorough analysis of the show's appeal, including extensive interviews with the cast, writers, and crew.

    Pier Paolo Pasolini was uncompromising, homosexual, anti-Fascist, anti-Communist, anti-clerical, even as he yielded to his callings as world-renowned novelist (A Violent Life, The Ragazzi), poet, polemicist, and filmmaker. Photographs. Avertising.

    Fragola and Roch C. Smith examine all nine of Robbe-Grillet’s films, specifically exploring the cultural milieu to which the films are closely related.Readers are encouraged to view Robbe-Grillet from a variety of perspectives: as the auteur who probes various stylistic techniques and devices, especially the use of eroticism as a structural metaphor; as the international artist; as the detached observer; and as the impassioned creator.The nine films covered are Last Year at Marienbad, L’Immortelle, Trans-Europ-Express, The Man Who Lies, Eden and After, N Took the Dice, The Progressive Slidings of Pleasure, Playing with Fire, and La Belle Captive.Along with interviews available nowhere else, this book includes a gallery of illustrations from Robbe-Grillet’s films as well as a filmography and bibliography of work by and about Robbe-Grillet.

    Bringing together cultural, political and economic analyses, Grossberg offers an interpretation of the contemporary politics of both rock and popular culture.

    This text is the comprehensive guide to special effects.Many different kinds of effects are covered, including chemicals, pyrotechnics, weapons, levitation and weather. Written by a recognized expert in the field, this book contains over 200 illustrations and diagrams providing in depth coverage of every detail. Case studies and a behind the scenes look at the 'The Fisher King' are included.

    expanded edition of his ecstatic film-work book

    Concentrated in the ten years following World War II and characterized above all by its atmosphere and its urban settings, film noir gave a broadly pessimistic treatment to melodrama and to crime movies. In a world that should have felt liberated by victory, failure - or the threat of it - haunted the petty criminal, the potential fall-guy, the tired gumshoe, and the two-bit femme fatale. Although the concept of film noir remains nebulousnobody, until the nostalgia boom of the 'seventies and 'eighties, actually set out to make one - it covers a distinguished collection of films that bring together an unrivaled assembly of talent: directors such as Howard Hawks, Orson Welles, Robert Siodmak, and Billy Wilder, writers including William Faulkner, Daniel Mainwaring, and Raymond Chandler, stars like Humphrey Bogart, Robert Mitchum, Barbara Stanwyck, and Ava Gardner. This book, aimed at the informed filmgoer as well as the film student, looks at film noir in general, with articles on, for example, the political background, the importance of psychoanalysis, and the techniques of suppressive narrative. Detailed analyses are given of many of the most notable movies, among them The Big Sleep, Double Indemnity, Out of the Past, and Kiss Me, Deadly, as well as of the film noir revival of the 'seventies and 'eighties. The text, written by a group of film critics and teachers mainly associated with Movie magazine, is illustrated throughout with highly evocative stills and frame enlargements. Movie magazine, with which most of the contributors to this book are associated, was founded in 1962 by Ian Cameron, Mark Shivas, V. F. Perkins, and Paul Mayersberg. It quickly attracted attention both for the quality of its contents and for its insistence on the virtues of American film, which had been neglected by the critical establishment of the time

    Founded by the German High Command as a propaganda medium during World War I and always central to Germany's nationalistic big-business interests, Ufa was also home to the most innovative talents of the Weimar Republic. Fritz Lang, Marlene Dietrich, Emil Jannings, and Ernst Lubitsch were Ufa stars; Metropolis, The Blue Angel, and Dr. Mabuse were only a few of its finest works. From its dazzling theaters to its state-of-the-art studios and processing labs, from its comprehensive multimedia publicity campaigns to its avant-garde art films, Ufa challenged Hollywood for cultural dominance and market share in Jazz Age Europe. But the story grows darker after the simultaneous advent of sound films and National Socialism. The story of Ufa under Hitler, when technically suberb films continued to be made, is the story of the corruption and destruction of this vital company by the state that brought it into existence.

    Their intense creative relationship, fuelled by a deep personal affinity that endured until Williams's death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America's greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-war era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests alternative ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.

    (The Niagara Gizette). Used as the database of choice for Blockbuster Video's new "Movie Guide".

    The book includes all the facts and inside information (much of it never revealed anywhere before) that every fan of the world's favorite "Dream Killer" will be "dying" to read about. Photos, charts, diagrams, and memorabilia throughout, plus a 16-page color photo insert.

    Scott MacDonald reveals the sophisticated thinking of these artists regarding film, politics, and contemporary gender issues.The interviews explore the careers of Robert Breer, Trinh T. Minh-ha, James Benning, Su Friedrich, and Godfrey Reggio. Yoko Ono discusses her cinematic collaboration with John Lennon, Michael Snow talks about his music and films, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie recall the New York and California avant-garde film culture. The selection has a particularly strong group of women filmmakers, including Yvonne Rainer, Laura Mulvey, and Lizzie Borden. Other notable artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.

    In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume.  They present the essence of Eisenstein’s thinking on cinema and aesthetics more generally and reveal him as one of the most significant philosophers of art of the twentieth century.

    It provides detailed histories of the major players in the preservation battle including the International Museum of Photography at George Eastman House, the American Film Institute, the Museum of Modern Art, the UCLA Film and Television Archive, and the Library of Congress. This first historical overview of film preservation in the United States is also highly controversial in its exposure and criticism of the politicization of film preservation in recent years, and the rising bureaucracy which has often lost sight of preservation and restoration as the ultimate purpose of film archives.

    It reflects the journal's continuing engagement with questions of sexuality and signification in the cinema, an engagement which has had a profound influence on the development of the academic study of film and on alternative film and video practice.The collection opens with Laura Mulvey's classic "Visual Pleasure and Narrative Cinema" with its conjunction of semiotics and psychoanalysis, the critical approach which is most closely associated with Screen's rise to international prominence. The reader then goes on to explore the particular questions and debates which that conjuction provoked: arguments around pornography and the represenation of the body: questions of the representation of femininity and masculinity, of the female spectator, and of the social subject.Many of the writings in this Reader have become indispensable texts within the study of film. The purpose of the Reader is not only to make the articles available to a wider readership, and to a new generation, but also to pose new conjunctions, making connections in one volume between debates and inquiries which spanned two crucial decades of film theory.The Sexual Subject is intended not only for all those with a particular interest in film and film theory, but for anyone with a serious commitment to cultural theory, theories of representation, and questions of sexuality and gender.

    This innovative approach---the interweaving of examples of cinema with architecture, art history, medical discourse, photography, and literature--addresses the challenge posed by feminism to film study while calling attention to marginalized artists. An object of this critical remapping is Elvira Notari (1875-1946), Italy's first and most prolific woman filmmaker, whose documentary-style work on street life in Naples, a forerunner of neorealism, was popularly acclaimed in Italy and the United States until its suppression during the Fascist regime. Since only fragments of Notari's films exist today, Bruno illuminates the filmmaker's contributions to early Italian cinematography by evoking the cultural terrain in which she operated. What emerges is an intertextual montage of urban film culture highlighting a woman's view on love, violence, poverty, desire, and death. This panorama ranges from the city's exteriors to the body's interiors. Reclaiming an alternative history of women's filmmaking and reception, Bruno draws a cultural history that persuasively argues for a spatial, corporal interpretation of film language.

    

    A step-by-step guide to the elements of script formatting discusses how to use each element for maximum effect and offers advice on rewriting, using a PC or word processor, and how to prepare a finished draft for submission.

    Yet few critics have been able to analyze its many facets and functions. From the reviewer who reports on the film to the theoretician whose in-depth categorizations and intellectualizations confuse rather than enlighten, writing about films has not yet achieved a useful critical apparatus.

    Written by the author of the industry bible Cinematography, this book explores technical, aesthetic, and practical aspects of lighting for film and video. It will show you not only how to light, but why. Written by an experienced professional, this comprehensive book explores light and color theory; equipment, and techniques to make every scene look its best. Now in full color, Motion Picture and Video Lighting is heavily illustrated with photos and diagrams throughout. This new edition also includes the ultimate 'behind the scenes' DVD that takes you directly on a professional shoot and demonstrates technical procedures and equipment. In addition, 20 video clips include lighting demonstrations, technical tests, fundamentals of lighting demos, and short scenes illustrating different styles of lighting.

    For example, in literature a character might suddenly step out of the story and address the reader.

    This text adopts a conceptual approach to lighting, focusing on ideas and setups; it assumes readers have a prior knowledge of equipment. Coverage includes lighting, color control, texture, exposure technique, and elements that create image, 'look,' and mood.

    Douglas Gomery tells the complete story of the film exhibition business, from the humble nickelodeon to movie palaces to today's mass markets of cable TV and home video rentals. Along the way Gomery shows us how the American economy and society altered going to the movies.Shared Pleasures answers such questions as: How and where have Americans gone to the movies? What factors prompted the growth of specialized theaters? To what extent have corporations controlled the means of moviegoing? How has television changed the watching of motion pictures? Gomery analyzes social, technological, and economic transformations inside and outside the movie industry-sound, color (and later, colorization), television movies, cable movie networks, and home video, as well as automobiles, air conditioning, and mass transit. He traces the effects of immigration, growing urban and suburban cultures, two world wars, racial and ethnic segregation, and the baby boom on the movie theater industry, noting such developments as newsreel theaters and art cinemas.Gomery shows how the movie theater business has remained a profitable industry, transforming movie houses from storefronts to ornate movie palaces to the sticky-floored mall multiplexes of today. Contrary to some gloomy predictions, Gomery contends that movie watching is not declining as a form of entertainment. With the growth of cable TV, home movie rental, and other technical changes, more Americans are watching (and enjoying) more movies than ever before.

    The many horror stories covered here--by such writers as Stephen King, Ray Bradbury, John Cheever, and Philip K. Dick--all became legendary horror films. Illustrated.

    Although it deals with program-making at a professional level, those who make films for love alone will also find much that is helpful. In addition, this book is ideal for amateurs who wish to improve their skills because of its step by step, checklist format.

    By focusing on his sensitivity to political struggle, however, leading film commentators here offer fascinating insights into Mekas's career as a writer, filmdistributor, and film-maker, while exploring the history of independent cinema in New York since World War II. This collection of essays, interviews, and photographs addresses such topics as Mekas's column in the Village Voice, his foundation and editorship of Film Culture, his role in the establishment of Anthology Film Archives and The Film-Makers Co-op (the major distribution center for independent film), his interaction with other artists, including John Lennon and Yoko Ono, and finally the critical assessment of his own films, from Guns of the Trees and The Brig in the sixties to the diary films that followed Walden. The contributors to this volume are Paul Arthur, Vyt Bakaitis, Stan Brakhage, Robert Breer, Rudy Burckhardt, David Curtis, Richard Foreman, Tom Gunning, Bob Harris, J. Hoberman, David E. James, Marjorie Keller, Peter Kubelka, George Kuchar, Richard Leacock, Barbara Moore, Peter Moore, Scott Nygren, John Pruitt, Lauren Rabinovitz, Michael Renov, Jeffrey K. Ruoff, and Maureen Turim.

    The interviews explore production design techniques and the total process of establishing the visual look of a feature film, including the design and creation of sets, finding locations, establishing the color scheme or palette of a film, and supervising the costumes, hairstyles, and makeup. The designers discuss in detail their work on many highly acclaimed and seminal works in the field, including North by Northwest, Chinatown, Barry Lyndon, Reds, Amadeus, Brazil, Blade Runner, and The Last Emperor. The interviewees talk about their relationships with the producer, director of photography, art director, construction crew, set decorator, property master, and costume designer, and how the team helps bring the director's vision to the screen.The interviews are presented in an order that gives the reader a historical perspective on the development of production design, from the studio era to contemporary productions. LoBrutto includes biographical background and a complete filmography of each subject, plus a glossary of terms that concern the design process. By Design investigates the visual style of films in a pragmatic and detailed manner usually overlooked by conventional film analysis, and will prove especially useful to film students and scholars and all aspiring and experienced producers and directors.

    Adaptación a historieta de la película de culto.