Taking his inspiration from the popular, and often lurid, "pulp" crime stories of the thirties and forties, Tarantino intertwines three narratives and introduces a variety of fascinating characters; thick-witted hit men, a double-crossing prizefighter on the run, his absent-minded French girlfriend, the hit men-hiring mob boss, his exotic but drug-addled wife, and two young lovers contemplating a career change - namely whether to start sticking up restaurants instead of liquor stores. Full of wicked humor, dazzling dialogue, and riveting action, "Pulp Fiction" is a master screenwriter's look at today's Hollywood and its dark criminal culture.

    This marvelous reprise of the most entertaining movie reviews ever written is a boon to serious moviegoers and the perfect companion in the age of the VCR. Today, the best place to find "the movies" is in books--and "the best books to go to remain those of Pauline Kael" (New York Magazine).

    The author shows the correct formats for both screenplays and teleplays, and takes the writer through the writing and marketing process.

    A standard by which other screenwriting books are measured, it has sold over 200,000 copies in its twenty-year life. Always up-to-date and reliable, it contains everything that both the budding ... Available here:blubbu.com/download?i=1935247107The Screenwriter's Bible, 6th Edition: A Complete Guide to Writing, Formatting, and Selling Your Script (Expanded & Updated) PDF by David TrottierRead The Screenwriter's Bible, 6th Edition: A Complete Guide to Writing, Formatting, and Selling Your Script (Expanded & Updated) PDF from Silman-James Press,David TrottierDownload David Trottier’s PDF E-book The Screenwriter's Bible, 6th Edition: A Complete Guide to Writing, Formatting, and Selling Your Script (Expanded & Updated)

    Wenders brings to this collection of photographic essays the same literary and cinematic talents, the same command of the art of storytelling that we find in his films. In the tradition of "Paris, Texas" and "Faraway, So Close," the texts and pictures in "Once" weave ambiguous and moving narratives in fits of rhythmic prose and inventive imagery. Prefaced by Wenders' poetic meditations on the metaphysics of photography and film, "Once" consists of short, autobiographical sketches relating Wenders' experiences-both meaningful and apparently trivial-on his trips across the world scouting locations for his films, as well as photographs taken during these excursions. The resulting book is at once travel diary, photo album, and a series of short films or short stories-revealing the views and sentiments of an auteur inspired by the poetry of the eye and the melody of speech. Fascinating and revelatory, "Once" gives us a unique look at the universe Wenders has created out of the hidden pieces of everyday life.

    In the book, Fellini recounts the stories behind his classic films La Dolce Vita, 8 1/2, La Strada, and others, describing the inspirations from which they arose and the struggles to get them filmed. He also speaks at length on actors Marcello Mastroianni, Anita Ekberg, Sophia Loren, and Anna Magnani, and on directors Roberto Rossellini, Ingmar Bergman, and Michelangelo Antonioni.

    Born into a clan of lumberjacks, ranchers, and frontier lawyers, David Samuel Peckinpah served in the Marines and then made his way to Hollywood, where he worked on a string of low-budget features before being hired as a writer for Gunsmoke in 1955. Quickly becoming the hottest writer in television, Peckinpah went on to direct a phenomenal series of features, including Ride the High Country, Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, and The Wild Bunch. The life he led -- glamorous, wild, and beset by personal demons -- is as vivid as his films. A hopeless romantic and a grim nihilist, inspiration to such luminaries as DePalma, Scorsese, and Tarantino, Sam Peckinpah was an audacious American original. If They Move...Kill 'Em! is his wild and woolly story.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

    When continental moviemakers combined horror with sex, they unleashed a tidal wave of celluloid strangeness that lasted nearly thirty years. From sexy thrillers to pulp surrealism, from decadent erotica to blood-soaked vampire epics, nothing could go too far. Immoral Tales tells the fascinating story of this unique period, peeking into the kaleidoscope of visceral horror, maverick directors, and erotic invention.

    200 b/w illustrations. Two 16-page 4-color inserts.

    The book 'multiculturalizes' media studies by looking at Hollywood movie genres such as the western, the musical and the imperial film from multicultural perspectives, examining issues from the racial politics of casting to colonialist discourse and gender and Empire.More than just a critique of Eurocentrism and racism, Unthinking Eurocentrism also confirms artistic, cultural and political alternatives, discussing a wide range of non-Eurocentric media including Third World films, rap video and indigenous media. Synthesising literary theory, meida theory and cultural studies to form a challenging interdisciplinary study, the authors argue that current debatess about Eurocentrism and Afrocentrism are merely surface manifestations of a deep-rooted shift: the decolonisation of global culture.

    Greene, from 1953 to 1957 Marilyn's photographer, artistic adviser, and business partner. In a series of skillful maneuvers Greene freed Marilyn from the shackles of her slave contract with Twentieth Century-Fox and formed their independent production company - Marilyn Monroe Productions, Inc. Thanks to this coup, she was at last able to command commensurate fees, choose her own vehicles, and triumph in Bus Stop and The Prince and the Showgirl, giving under Milton's tutelage her finest performances. The singular relationship between the celebrated photographer and the box-office blonde, illuminated for the first time by James Kotsilibas-Davis's original text, was intense and extremely fruitful. At times Marilyn even lived with Milton's family, finding the secure professional and personal base that she so desperately needed for her work and her emotional well-being. Their collaboration broke up in 1957, when Marilyn's third husband, playwright Arthur Miller, became involved in his wife's business affairs. Embittered, Milton Greene withdrew from MMP and refused to allow anyone to examine or publish the bulk of his Marilyn photos before his death in 1985. Disputes over his estate considerably delayed publication of this treasure trove of Marilyn images. This volume contains a rich selection of Milton H. Greene's photographs, most of which have never been published before. They present Marilyn Monroe at the zenith of her physical beauty - she never looked so erotic, elegant, or vulnerable, as she did toMilton's unerring "eye."

    Offers an intimate look at the work of Hollywood director John Ford through the observant eyes of actor Harry Carey, Jr.

    In a field being transformed by technology, Syd  Field shows you what works and why and how to find  new ways to create a truly outstanding film using  four extraordinary examples: Thelma &  Louise, Terminator 2: Judgement  Day, The Silence Of The  Lambs, and Dances With  Wolves.

    In The Gangster Film, series editor Phil Hardy has created yet again a landmark in film reference.Included in this lavish volume are critical entries on more than 1,500 gangster films, complete with plot synapses and credits, and 650 black and white photographs to capture the look of this exciting genre. Arranged chronologically, The Gangster Film offers deliciously opinionated and detailed descriptions, statistical information, credits and trivia from early classics such as Public Enemy, Key Largo, Dragnet, and On the Waterfront to contemporary blockbusters such as The Grifters, Chinatown, The Godfather, and Pulp Fiction. Essential, authoritative, and entertaining, The Gangster Film is the guide for serious students of film, film buffs, and home viewers.

    Providing extended critical discussion on six of his most important films (Shadows, Faces, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams), Ray Carney argues that Cassavetes' work is a distinctly life-affirming form of modernist expression that is at odds with the world-denying modernism of many of the most important art works produced in this century. Cassavetes is revealed to be a profoundly thoughtful and self-aware filmmaker and a deeply philosophical thinker, whose work takes its place in the American tradition along with the writings of Ralph Waldo Emerson and William James. The six films treated here emerge as expressive interpretations of the bewildering challenges in contemporary American cultural experience.

    Following the enthusiastic reception of "Five Screenplays by Preston Sturges," the University of California Press returns with "Four More."This volume contains three scripts widely regarded as among the filmmaker's best: "The Palm Beach Story," "The Miracle of Morgan's Creek," and "Unfaithfully Yours." Based on the actual shooting scripts rather than the final screen versions, these screenplays contain scenes that were not filmed or that disappeared on the cutting room floor. In the fourth script, "Triumph over Pain/The Great Moment," Sturges dramatizes the career of W.T.G. Morton, the doctor who first demonstrated the use of ether and thus revolutionized surgery. Arguably the most important biographical film project of the 1940s, this film was recut and rearranged by Paramount before it was released. By reprinting Sturges's original script and explaining its transformation, Brian Henderson has, in effect, discovered a new work by Sturges.In the introductions that precede each screenplay, Henderson examines every important aspect of the screenplay's composition. He analyzes Sturges's process of constant revision, discusses variant drafts and fragments of drafts, and describes the writer/director's relations with Paramount executives, the Church, the Hayes Office, and Darryl Zanuck.Alone or as a companion to the earlier volume, this work will be welcomed by scholars, film buffs, screenplay writers, and admirers of Preston Sturges.

    Broken Mirrors/Broken Minds, which dissects such Argento cult films as Two Evil Eyes, The Bird with the Crystal Plumage, Suspiria, and Deep Red, includes a new introduction discussing Argento’s most recent films, from The Stendahl Syndrome to Mother of Tears; an updated filmography; and an interview with Argento.

    Each of their 22 film collaborations is examined in detail, including plot synopses and critical commentary. A comprehensive filmography of their films together provides release date, running time, studio, production information and full cast and credits. The original research is supported by interviews with both Lee and Cushing, along with fellow performers and production personnel, such as Hazel Court, Robert Bloch, and Patrick Macnee.

    Terror on Tape is a complete, comprehensive guide to over 2,000 horror films from the past 75 years that have been reissued on videotape, from mainstream masterpieces like Psycho and The Silence of the Lambs to cheesy exploitation flicks like Werewolf vs. the Vampire Woman and Friday the 13th: Part 4, from cult classics that broke to a wider audience like Night of the Living Dead and Halloween to deservedly unknown bombs like The Worm Eaters and Yog, Monster from Space.As entertaining as it is useful, Terror on Tape features dozens of photos and 100 sidebar essays that take a closer look at some of the influential actors and directors who have left their mark on the horror genre, making this the perfect book for the devoted horror movie fan and the curious horror novice alike.

    In The Gangster Film, series editor Phil Hardy has created yet again a landmark in film reference.Included in this lavish volume are critical entries on more than 1,500 gangster films, complete with plot synapses and credits, and 650 black and white photographs to capture the look of this exciting genre. Arranged chronologically, The Gangster Film offers deliciously opinionated and detailed descriptions, statistical information, credits and trivia from early classics such as Public Enemy, Key Largo, Dragnet, and On the Waterfront to contemporary blockbusters such as The Grifters, Chinatown, The Godfather, and Pulp Fiction. Essential, authoritative, and entertaining, The Gangster Film is the guide for serious students of film, film buffs, and home viewers.

    Jekyll and Mr. Hyde (1931), The Old Dark House(1932), The Mask of Fu Manchu (1932), Mark of the Vampire (1935), Mad Love (1935), The Black Room (1935), The Walking Dead (1936), Cat People (1942), Bluebeard (1944), The Lodger (1944), The Picture of Dorian Gray (1945), Hangover Square (1945) and Bedlam (1946). From original interviews and research, the styles of the various studios (from giant M-G-M to Poverty Row's PRC), along with the performers, directors, and backstage events, are examined.

    I'm Libby Gelman-Waxner, and I'm an assistant buyer in juniors' activewear. While I find my work both rewarding and creative, especially with the new knits coming in, I want more. And so I decided to become a film critic....Move over, Siskel & Ebert. Watch out, Leonard Maltin. And just forget saving that aisle seat, Mr. Medved. Libby Gelman-Waxner has arrived -- in the critic's circle, that is -- and the silver screen may never be the same again. Witty, wicked, and scathingly honest -- If You Ask Me is a hilarious collection of her columns from Premiere magazine. Just listen to Libby on some recent films and film stars:Prince of Tides -- "Barbra's only spontaneous moment in Prince of Tides comes when Nick tosses her a football and she screams 'My nails!'"Diane Keaton -- "She's a pioneer; she takes that thing that hangs in the back of your closet, the thing that was too marked down to pass up, Diane takes that thing and she doesn't call Goodwill, she wraps it around her head a few times, pins on a Smurf brooch, and wins an Oscar...."The Last of the Mohicans -- "Daniel Day-Lewis makes American actors look like giggly junior high school boys playing Nintendo during the prom; at one point, Madeleine asks Daniel what he is looking at, and he says, I'm looking at you, Miss, and let me tell you, the usher had to conk me with his flashlight to make me stop whimpering...."Daryl Hannah -- "All men in America, my Josh included, they all want a date with Daryl Hannah. A girl like Daryl -- we're not talking about a Ph.D. in comparative literature; I think we're talking about hair in the eyes and not much in the way of lingerie...."

    Along with its predecessor, this book contains vital information for anyone interested in special effects makeup.

    In Part One, Dorothy Arzner's film career--her work as a film editor to her directorial debut, to her departure from Hollywood in 1943--is documented, with particular attention to Arzner's roles as "star-maker" and "woman's director." In Part Two, Mayne analyzes a number of Arzner's films and discusses how feminist preoccupations shape them, from the women's communities central to Dance, Girl, Dance and The Wild Party to critiques of the heterosexual couple in Christopher Strong and Craig's Wife. Part Three treats Arzner's lesbianism and the role that desire between women played in her career, her life, and her films.

    Written by his grandson, the book includes material from Emeric Pressburger's diaries and attempts to show what he brought to the Pressburger/Michael Powell films.

    Completely revised and greatly expanded - including 20 new contracts - the second edition of this popular and essential handbook is the ultimate entertainment-law source of independent film makers, who, armed with this book can save themselves thousands in legal fees. It contains 62 contracts covering: depiction and copyright release; literary submission and sale; artist employment; collaboration; music; financing; production; distribution; and, merchandising and retainers.

    No amount of empirical research into the sociology of actual audiences will displace the desire to speculate about the effects of visual culture, and especially moving images, on viewing subjects. These notions of spectatorship, however hypothetical, become extremely compelling metaphors for the workings of vision within the institution of cinema. Viewing Positions examines the tradition of a centered, unitary, distanced, and objectifying spectator's gaze; investigates the period when film spectatorship as an idea began; and analyses gender- and sexuality-based challenges to the homogeneous classical theory of spectatorship. It makes available critical understandings of spectatorship that have, until now, largely eluded cinema studies.

    A pop-up book based on the Wallace and Gromit cartoon, A Close Shave.

    In this richly illustrated volume, renowned biographer Barry Paris offers the definitive biography of this fascinating and complex woman -- from her hardscrabble childhood in Sweden to her arrival in Hollywood at the age of nineteen, from her meteoric rise to stardom to her unintentional retirement from filmmaking at the height of her fame, from the new life she crafted for herself to her surprising, and failed, plans for a comeback. Drawing on hitherto unavailable material, including one hundred hours of tape-recorded conversations, fifty years of correspondence, and interviews with Garbo's surviving friends and family, Paris reveals the real woman behind the enigma.

    Includes: The Hospital, Network, and Altered States.

    Based on extensive investigation of rare archival films and documents, and drawing on recent social and cultural histories of turn-of-the-century France and the United States, his book provides new insights into the earliest history of the cinema.Abel tells how early French film entertainment changed from a cinema of attractions to the narrative format that Hollywood would so successfully exploit. He describes the popular genres of the era—comic chases, trick films and féeries, historical and biblical stories, family melodramas and grand guignol tales, crime and detective films—and shows the shift from short subjects to feature-length films. Cinema venues evolved along with the films as live music, color effects, and other new exhibiting techniques and practices drew larger and larger audiences. Abel explores the ways these early films mapped significant differences in French social life, helping to produce thoroughly bourgeois citizens for Third Republic France.The Ciné Goes to Town recovers early French cinema's unique contribution to the development of the mass culture industry. As the one-hundredth anniversary of cinema approaches, this compelling demonstration of film's role in the formation of social and national identity will attract a wide audience of film scholars, social and cultural historians, and film enthusiasts.

    A collection of the dramatic portraits that the well-known, and then sought-after, photographer took of Hollywood's greatest stars features shots of Dietrich, Garbo, Hepburn, Harlow, Gable, Tracy, Cooper, Harlow, Hayworth, Redford, and others.

    Robert Capa, one of the founders of Magnum, had many friends in the film business - including Ingrid Bergman, Hunphrey Bogart, Billy Wilder and John Huston - which gave him, and through him the other Magnum photographers, access to the charmed world of Hollywood. This connection with the film world has continued to the present day and widened to include movie-makers all over the world.

    

    Bad Aboriginal Art is the extraordinary account of Eric Michael's period of residence and work with the Warlpiri Aborigines of western Central Australia, where he studied the impact of television on remote Aboriginal communities.

    Dramatizes a rape trial in a small Southern town, a washed-up country singer's recovery, and an old woman's return to her home.

    His lively reevaluation sheds new light on the art, directors, cinematographers, and stars of the great silent films.

    Here is the first major biography of one of the most influential and fascinating figures in 1920's and '30's filmdom--and the inspiration for F. Scott Fitzgerald's The Last Tycoon. Photo insert.

    Includes capsulized reviews of 5,614 films and is illustrated with over 232 photos.

    In contrast to standard film histories, Yuri Tsivian focuses on reflected images: it features the historical film-goer and early writings on film as well as examining the physical elements of cinematic performance. "Tsivian casts a probing beam of illumination into some of the most obscure areas of film history. And the terrain he lights up with his careful assembly and insightful reading of the records of early film viewing in Russia not only changes our sense of the history of this period but also . . . causes us to re-evaluate some of our most basic theoretical and historical assumptions about what a film is and how it affects its audiences."—Tom Gunning, from the Foreword"Early Cinema in Russia . . . reveals Tsivian's strengths very well and demonstrates why he is . . . the finest film historian of his generation in the former Soviet Union."—Denise Y. Youngblood, Historical Journal of Film, Radio, and Television"A work of fundamental importance."—Julian Graffy, Recent Studies of Russian and Soviet Cinema

    

    While addressing contemporary concerns about gender and identity, the screenplay adapts the original story to give it a striking cinematic form.

    These sound creators represent many of the crafts working in film sound, including production sound, sound editing, sound design, automatic dialogue replacement (ADR), Foley, re-recording mixing, and sound engineering. The interviews are presented in an order that attempts to give the reader a historical perspective on the development of film sound from the studio era to contemporary productions.The interviews explore how sound creates an aural look to the film in the same way that production design and cinematography creates a visual look to a film. The discussions focus on the relationship with renowned Hollywood film directors and how sound was conceived and executed for specific films. Among the highly acclaimed and seminal films discussed are Star Wars, Nashville, The Conversation, Apocalypse Now, Raging Bull, and Terminator 2. In addition to the interviews, the book contains biographical background and a selected filmography of each sound creator as well as a glossary of terms and a bibliography for further study. It is essential reading for film students, academic scholars and film educators as well as industry professionals and moviegoers who want to understand the aesthetic and technical role of those who work in film sound.

    Over 50 years later, Rogers, Dale Evans, and Trigger are still heroes. 200 photos, 60 in full color.

    Generally the milieu is urban and middle class, and the overall feel is one of repression and fatalism. Whether shot in black and white or color, the style reinforces the overall feel. Films, directors, actors, producers, screenwriters, art directors, themes, plot devices and many other elements are contained in this encyclopedic reference work. Each movie entry includes full filmographic data (studio, running time, production and cast credits, and plot synopsis) along with an analysis of its place in the genre. Biographical entries focus on the person's role in noir and provide a complete filmography of their film noir work. Terms are placed in the context of the genre and relevant examples from films are given.

    

    With more than 3,000 reviews and 200 biographies, this encyclopedia is fully indexed and cross-referenced. Photos.

    Whether you are an aspiring or seasoned film professional, this book will be an indispensable resource for you on a day-to-day basis. This updated edition remains true to the practical, hands-on approach that has made previous editions so successful, and has been updated with revised forms, permits, and budgets applicable to all productions; contains important information on standards and typical processes and practices; includes the latest information available on technological advances such as digital FX; and discusses the impact of the Internet on filmmaking. Film production professionals at all levels of experience will benefit from the information in this handbook to film production management.

    The plot is juxtaposed to that of the British officer's thrice lost love - which introduces a disturbing undercurrent of romantic pessimism into what might otherwise seem a nostalgic chronicle. This volume also contains documentary material relevant to Powell and Pressburger's struggle to get the film made in war-torn Britain.

    

    Dreams of Chaos, Visions of Order addresses precisely this question: how-and to what extent-can viewers make sense of American avant-garde films? It is a controversial book that examines the implicit assumptions of traditional scholarship, advocates on alternative to dominant approaches to the avant-garde cinema, and questions some long-standing clich's about the history of the avant-garde.

    Producers, gaffers, camera operators, key grips, sandmen and scriptgirls - with a list of behind the scenes movie makers - this book presents a lively, first-hand view of Hollywood from the bottom up.

    Richard Dienst engages each of these possibilities as he explores the challenge television has posed for contemporary theories of culture, technology, and media.Five theoretical projects provide Still Life in Real Time with its framework: the cultural studies tradition of Raymond Williams; Marxist political economy; Heideggerian existentialism; Derridean deconstruction; and a Deleuzian anatomy of images. Drawing lessons from television programs like Twin Peaks and Crime Story, television events like the Gulf War, and television personalities like Madonna, Dienst produces a remarkable range of insights on the character of the medium and on the theories that have been affected by it.From the earliest theorists who viewed television as a new metaphor for a global whole, a liberal technology empty of ideological or any other content, through those who saw it as a tool for consumption, making time a commodity, to those who sense television’s threat to being and its intimate relation to power, Dienst exposes the rich pattern of television’s influence on philosophy, and hence on the deepest levels of contemporary experience.A book of theory, Still Life in Real Time will compel the attention of all those with an interest in the nature of the ever present, ever shifting medium and its role in the thinking that marks our time.

    In these original essays, noted film and art scholars explore how the spatial consciousness, compositional techniques, and construction of images in these traditional and modern art forms also inform filmmaking in the two countries, so that film and art share the same culturally defined "methods of seeing."This first major study of the relationship between Chinese and Japanese art and film brings together writers from the United States, Europe, Australia, China, and Japan, including Japan's well-known film critic Sato Tadao and Beijing Film Academy's Ni Zhen, screenwriter of the Oscar-nominated film Raise the Red Lantern. The essays discuss the influence of the traditional arts, including scroll painting and printmaking, on Chinese and Japanese cinema and demonstrate that national cinemas cannot be completely understood without considering their indigenous traditions.

    . The first set "The Comedians" was issued in 1991. This Book includes the stamps of Caricatures of 9 Actors and Actresses of the Silent Screen. Includes: Charlie Chaplin, Clara Bow and Rudolph Valentino. (The purchase price for the book of stamps that is included unopened in the book, was $24.95) Great information and photos of some of the most famous actors and actresses of the Silent screen.

    

    She was a dancer, singer, comedienne, and Academy Award winning dramatic actress, as well as the highest paid Hollywood star in 1942. Miss Faris provides a detailed record of Ginger Roger's life and career, painting a picture of her as one of the most versatile performers in the United States.The volume begins with a short biography of Ginger Rogers, along with a succinct chronology of the major events in her life and career. These portions of the book provide a context for the chapters that follow, which contain annotated entries for her stage, film, radio, and television performances. The entries provide production information and cast listings, along with excerpts from reviews and critical commentaries. An extensive annotated bibliography lists books, magazine and newspaper articles, and movie trade publications that provide further information about Ginger Rogers's fascinating career.

    Humphrey Bogart, in one of his most memorable performances, plays Dix, the hard-bitten and cynical screenwriter who falls for the glamorous Laurel (Gloria Grahame). But Dix has a violent streak in him, and though he's finally absolved of the murder he's accused of, the love affair cannot survive. Undeniably, as Dana Polan shows in his subtle and intelligent account, there are autobiographical undertones in the film--the marriage of Gloria Grahame to its director, Nicholas Ray, began to break up during production. Yet despite its bleak ending and its frequent noir style, argues Polan, the wise-cracking between Dix and Laurel gives the film the aspect of a screwball comedy. Critics were uncertain how to respond to this mix of genres when the film first appeared. Since then however, In a Lonely Place has rightfully been acknowledged as a classic and compelling story of blighted love.

    From classics to independent films to mega-hits like Titanic, personality types are everywhere in the movies � if you know how to see them. The Enneagram is a fascinating and popular system that describes nine personality types that human beings most favor. It is used in communication, self knowledge, story construction, actors. Knowledge of the Enneagram is helpful in dozens of ways, from understanding relationships to improving communication to handling difficult people. Newcomers to the Enneagram are often amazed to find clear accurate portraits of themselves and everyone else that they know. The Enneagram is about people � how we are the same, how we are different, what makes us tick. Written in a lively entertaining style, The Enneagram Movie & Video Guide "cracks the code"/with help you learn the Enneagram quickly and apply it towards the personal and professional goals most important to you. This book is an indispensable source for movie buffs, students of human behavior and the Enneagram alike.This 2nd edition is updated and enlarged, including a new Master Index as well as advanced Enneagram distinctions like wings and subtypes. Thomas Condon has worked with the Enneagram since 1979. He has taught at Antioch University, and the University of California, Berkeley, as well as in hundreds of workshops in the U.S. and Europe. He is the author of 35 audiotapes and two books.

    Mark Salisbury and Alan Hedgecock look at the master makeup artists who have, in the 20 years since "The Exorcist", proven themselves to be the leaders in their craft. (We are sorry, but there are NO RETURNS on this item.)

    Regardless of whether you are new to the game, and just started acting last year, or have been acting for a very long time, this book has been extremely helpful and guiding to anyone with questions. It has personalized practices, which do not require multiple people and is tailored to your specific focus in the acting world. The book is great mentor to the art that you are already crafting.

    Dick Higgins makes a metaphysics out of spoken language, a turning of language against itself. With two friends he played eleven scoreless games of Scrabble, using the lists of words formed to write the play's eleven scenes. The players began each game with "Buster Keaton" spelled out in the center of the board. The play's dream-like speeches and stage directions refract Buster Keaton's film plots showing an outsider pasing through phases of rejection and desire until the qualities which make him an outsider allow him to triumph in the end. "Is there a toy for Buster? / there was a fire of toys / at the gazebo / where he had purred. / in the movies?" As Keaton said, "Think slow, act fast."

    In the past, Jungian archetypes have been used to interpret mythologies, to examine great works of literature, and to explain why sexual stereotypes persist in our society. Here, for the first time, Iaccino applies such models as the Cursed Wanderers, the Warrior Amazons, the Random Destroyers, and the Techno-Myths to highlight recurrent themes in a wide range of films, from early classics such as Nosferatu to the contemporary Nightmare on Elm Street and Alien series. With this innovative approach, Iaccino gains a new perspective on the psychology of the often powerful compulsion to be scared.

    This book breaks new ground by charting the influence that the three major dramatic genres -- Noh, Kabuki, and Bunraku -- have had on filmmaking. Illustrated.