Based on the novella Rita Hayworth and The Shawshank Redemption by Stephen King, director/screenwriter Frank Darabont's film, starring Tim Robbins and Morgan Freeman, was nominated for seven Academy Awards®, including Best Picture and Best Screenplay and has been named one of the 100 Best Films of All Time by the American Film Institute.The Newmarket Shooting Script Series® book includes: Introductions by Stephen King and Frank Darabont Complete shooting script Analysis of script-to-screen changes Behind-the-scenes photos Storyboards Complete cast and crew credits "Memo from the Trenches" by Frank Darabont

    Set in the underbelly of Edinburgh, Trainspotting is a story inhabited by a galaxy of immensely colorful characters -- liars, thieves, junkies -- people whose habits, emotions, and stories will leave an indelible imprint on the reader's mind.

    The answer, my friend, is right in this here official, 100%-MST3K-sanctioned book. Or maybe you know all about the adventures of Joel, Mike, and the 'bots in the not-too distant future. Then you can skip those pages. Really. We won't tell. You still need this book. Because it's got more cool stuff from the writers and performers of MST3K. More of what you'll find in the "Mystery Science Theater 3000 Amazing Colossal Episode Guide" * More than 120 synopses of the more than 120 episodes of the Peabody Award-winning show * More fascinating, outrageous facts and tidbits about the making of each episode * More photos than your average issue of "Tiger Beat" * More of the most disgusting things ever seen on-screen by the MST3K writers * More than 49 (50, to be exact) of the most obscure wisecracks * More quizzes, worksheets, and a ten-step plan to help you gain control of your finances and your life (well, not really...) * More about your Area and what it can do for you * More Beverly Garland! Miles and Miles O'Keefe! * And much, much more!

    Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.

    Dick's brilliant and troubling SF novel Do Androids Dream of Electric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made. Future Noir is the story of that triumph.The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.

    They almost always appear on videocassette.Among their kind are biker films, sci-fi series, quickie biopics, gimmick films, teen sex comedies, blaxploitation films, stalkers, slashers, snoozers, shrudderers, and anything starring Lynda Blair, david Carradine, Shannon Tweed or Drew Barrymore.And they're all here in the Psychotronic Video Guide.From Abby to Zontar, this book covers more than nine thousand amazing movies from the turn of the century right up to today's golden age of video, all described with Michael Weldon's dry wit. More than 450 rare and wonderful illustrations round out the book, making it a treasure trove of cinematic lore and essential for every fan of filmdom's finest offerings.

    A hefty compilation of essays (both pictorial and prose), notes, concept sketches and interviews by (and with) Hayao Miyazaki. Arguably the most respected animation director in the world, Miyazaki is the genius behind "Howl's Moving Castle," Princess Mononoke" and the Academy Award-winning film, "Spirited Away."

    Including: Feature film, Mondo film, Death film, and a comprehensive filmography and index. Illustrated by rare and stunning photographs from cinema, documentary and real life, Killing for Culture is a necessary book which examines and questions the human obsession with images of violence, dismemberment and death, and the way our society is coping with an increased profusion of these disturbing yet compelling images from all quarters.

    Furthermore, Lean's family and friends - from the son from whom he was estranged, to the women who loved him - talk frankly about his complex personality: a man who was charming, self-deprecating, autocratic and ruthless, and yet surprisingly generous. Brownlow's definitive biography of Lean leaves the reader with an understanding of the man and an appreciation of his cinematic achievement.

    But his personal story—from which he drew extensively to create the characters and plots of his films—is itself an extraordinary human drama. Now, with captivating immediacy, Antoine de Baecque and Serge Toubiana give us the definitive story of this beloved artist. They begin with the unwanted, mischievous child who learned to love movies and books as an escape from sadness and confusion: as a boy, Francois came to identify with screen characters and to worship actresses. Following his early adult years as a journalist, during which he gained fame as France's most iconoclastic film critic, the obsessive prodigy began to make films of his own, and before he was thirty, notched the two masterpieces The 400 Blows and Jules and Jim. As Truffaut's dazzling body of work evolves, in the shadow of the politics of his day, including the student uprisings of 1968, we watch him learning the lessons of his masters Fellini and Hitchcock. And we witness the progress of his often tempestuous personal relationships, including his violent falling-out with Jean-Luc Godard (who owed Truffaut the idea for Breathless) and his rapturous love affairs with the many glamorous actresses he directed, among them Jacqueline Bisset and Jeanne Moreau. With Fanny Ardant, Truffaut had a child only thirteen months before dying of a brain tumor at the age of fifty-two. Here is a life of astonishing emotional range, from the anguish of severe depression to the exaltation of Oscar victory. Based on unprecedented access to Truffaut's papers, including notes toward an unwritten autobiography, de Baecque and Toubiana's richly detailed work is an incomparably authoritative revelation of a singular genius.

    These award-winning special effects have one thing in common: Industrial Light & Magic (ILM).For more than twenty years, George Lucas and the technical wizards at ILM have literally changed the face of movie-making with their stunning, often unbelievable, visual effects.  Industrial Light + Magic: Into the Digital Realm chronicles ILM's second monumental decade--from 1986 through the mid-nineties--and includes a special discussion on the latest groundbreaking visual effects in the soon-to-be released Special Edition of Star Wars: A New Hope.During this seminal period, ILM virtually redefined visual effects and blazed a trail into the digital realm.  With more than six hundred lavish full-color photographs, this fascinating book takes you behind the camera and into the rarely seen workshops, offering an amazing look at the men and women who create movie magic.  We follow the intricate crafts of matte painting, model making, and optical compositing as they are transformed into digitally driven systems, and we track the contributions of model and creature makers, animation specialists and optical technicians, and the unsung stage hands and pyrotechnic experts.Packed with astounding information about ILM's technical innovations and remarkably clear explanations--including a revealing look at ILM's work with TV commercials and theme park attractions, a comprehensive glossary of essential terms, and detailed screen credits for all the company's film projects--this volume will enchant and enlighten all of us who have ever marveled at what we've seen on the screen and wondered: how did they do that?

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    Here are the stars (Truman Capote on Marilyn Monroe, Joan Didion on John Wayne, Tom Wolfe on Cary Grant, Lauren Bacall on herself), the directors (John Houseman on Orson Welles, Kenneth Tynan on Mel Brooks, John Huston on himself), the makers and shakers (producer Julia Phillips, mogul Daryll F. Zanuck, stuntman Joe Bonomo), and the critics and theorists (Pauline Kael, Graham Greene, Andrew Sarris, Susan Sontag). Here as well are the novelists who have indelibly captured the experience of moviegoing in our lives (Walker Percy, James Agee, Larry McMurtry) and the culture of the movie business (F. Scott Fitzgerald, Budd Schulberg, Nathanael West). Here is a book to get lost in and return to time and time againat once a history, an anatomy, and a loving appreciation of the central art form of our time.

    Reel To Real collects hooks' classic essays on films such as Paris Is Burning or the infamous "Whose Pussy Is It" essay about Spike Lee's She's Gotta Have It, as well as newer work on Pulp Fiction, Crooklyn and Waiting To Exhale. hooks also examines the world of independent cinema. Conversations with filmmakers Charles Burnett, Julie Dash, and Arthur Jaffa are linked with critical essays, including a piece on Larry Clark's Kids, to show that cinema can function subversively as well as maintain the status quo.

    I never want it to stop.' Sir Ian McKellen, one of the great Shakespeare actors, spent the glorious summer of 1995 fulfilling that wish. The result is a breathtaking piece of cinematography, starring Ian McKellen and written by him with Richard Loncraine, the director. In both his introduction to the screenplay and the extensive notes which run parallel to the text, Ian McKellen describes the genesis of the film, how the Royal National Theatre's highly praised stage production of Richard III was transformed into two hours of celluloid magic. He explains why this Richard III is set squarely in the 1930s and comments on the advantages as well as the pitfalls of trying to make Shakespeare more accessible to a general cinema audience. And finally he gives an insight into the way an actor prepares himself, both physically and mentally, to play one of Shakespeare's greatest villains. Illustrated with stunning black-and-white stills from the film, this book provides a fascinating and intensely personal view of the creation and filming of a masterpiece of modern cinema.

    The 'Magic Hour' is the special light that occurs just at twilight, and a very special light is what cameraman Jack Cardiff brought to films such as The Red Shoes, The African Queen, and Black Narcissus for which he won an Oscar. In Magic Hour Jack Cardiff details the adventures of his life: on tour on the music-hall circuit with his parents; acting in silent films; being chosen by Technicolor as the first British cameraman to be trained in colour photography; filming with British convoys in the Atlantic during World War II; his big break when Michael Powell asked him to photograph A Matter of Life and Death; his rambunctious expolits with Errol Flynn; and his triumph at the Cannes Film Festival as the director of Sons and Lovers.As a master of light, Cardiff came to photograph some of the most beautiful women in cinema history: Marilyn Monroe, Ingrid Bergman, Sophia Loren, Audrey Hepburn and Ava Gardner, to name but a few.Cardiff's bold and imaginative photography enhanced not only the work of Powell and Pressburger, but also that of Alfred Hitchcock and John Huston. Told with modesty and charm, Magic Hour is the personal journey of an extraordinary craftsman of cinema.

    Shortly after the filming began, Jarman also began work on this volume of his journals, which contains diary entries and interviews, notes on the script, stills from the filming, and photographs of Derek, his family and friends.

    Her life changes when she meets Jan, and outsider who works on the North Sea oil rigs. Their love - and the physical manifestation of it - transforms Bess. But their happiness is blighted when he suffers a terrible accident, and the body she desires so passionately becomes paralysed. To keep their erotic life alive, Jan urges Bess to have sex with other men and describe her experiences to him. Her sacrifice is his salvation, but it leads to her downfall and degradation. Breaking the Waves is a passionate film about religious dogmatism and erotic obsession where physical love is endowed with life-giving powers of healing, and miracles can occur.

    It contains capsule reviews of more than 22,000 movies, written with wit and good humor; the films are rated in a range from "four bones" to "WOOF!" Each entry notes the year the film was released; its running time; its availability on videocassette, laserdisc, and DVD; its chief credits; and whether the film was made in black and white or color. Unlike many rival guides, the Retriever includes made-for-television movies, straight-to-video releases, miniseries, and television shows that are currently available on video. But that's not all: the second half of the volume is an enormous book of lists, making it a valuable film encyclopedia as well. The award index covers not only the Oscars, the BAFTA Awards, and the Cannes Film Festival winners, but also the Golden Globe, the Canadian Genie, the Independent Spirit, and the MTV Movie Awards. VideoHound's Golden Movie Retriever 1998 categorizes films by their country of origin and by director, star, writer, cinematographer, and composer. If you want to find information on the World Wide Web, check out the directory of the best film Web sites. Best of all is the category index, which catalogues movies according to conventional genres ("Comedy," "Film Noir," "Romance") and also under topics as wild and diverse as "Murderous Children," "Flatulence," "Satire and Parody," "Cyberpunk," "Marriage," "L.A." and "Nuns with Guns." VideoHound's Golden Movie Retriever 1998is a lively and entertaining guide that will point you toward new experiences in film and strengthen your cinematic expertise.

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    Set in Prague in 1988—just before the Velvet Revolution—it tells the story of Louka, a virtuoso performer with the Czech Philharmonic, who has been banned from playing by the state. Now he finds himself playing at cemeteries for a living. Adding to his problems, an illegal arranged marriage has left the hardened bachelor with a little Russian boy to care for. From these elements, Zdenek Sverak—who also played Louka in the film—has woven an enduring tale of the transforming powers of music, language, and love.

    His great ability to conceal his directorial presence in order to better serve his material, coupled with the variety of genres in which he excelled, have earned his films 127 Academy Award nominations, winning Wyler three best-director Oscars. Based on his previously undiscovered papers, and hundreds of interviews, this perceptive, spellbinding biography reveals both the director and the private man in startling close-ups as he lived his turbulent life at a bit more than twenty-four frames per second.

    In turn, the 1980s ushered in a second wave of new movements—neoexpressionism, media deconstruction, and commodity art. Sandler also discusses postmodernist art theory, the art market, and consumer society, providing an essential framework for understanding the art of this period.Unlike his previous books, Art of the Postmodern Era includes both American and European artists.

    Collectively, the interviews provide rewarding perspectives on Kael's aesthetics, her politics, and her perceptions about what it is she does as a critic. They also contain discussions of films that Kael did not have the chance to review or that were released after her retirement in 1991.This collection of her interviews will provide new and renewed pleasures for readers who have valued Kael's critical voice and her challenges to consensus during the second half of the twentieth century.

    Many of the motion pictures in "Slimetime "have never had a major release, some were big hits, others have simply "vanished." Complimenting the wealth of reviews are detailed essays on specific sleaze genres such as Biker, Blaxploitation, and Drug movies.Steven Puchalski is editor/publisher of the cult-movie magazine "Shock Cinema," and a frequent contributor to "Fan--goria," and "Sci-Fi," the official magazine of the Sci-Fi Channel.

    Her 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is widely regarded as the most important feminist film of that decade. In Nothing Happens, Ivone Margulies presents the first comprehensive study of this influential avant-garde Belgian filmmaker.Margulies grounds her critical analysis in detailed discussions of Akerman’s work—from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il elle to the present. Focusing on the real-time representation of a woman’s everyday experience in Jeanne Dielman, Margulies brings the history of social and progressive realism and the filmmaker’s work into perspective. Pursuing two different but related lines of inquiry, she investigates an interest in the everyday that stretches from postwar neorealist cinema to the feminist rewriting of women’s history in the seventies. She then shows how Akerman’s “corporeal cinema” is informed by both American experiments with performance and duration and the layerings present in works by European modernists Bresson, Rohmer, and Dreyer. This analysis revises the tired opposition between realism and modernism in the cinema, defines Akerman’s minimal-hyperrealist aesthetics in contrast to Godard’s anti-illusionism, and reveals the inadequacies of popular characterizations of Akerman’s films as either simply modernist or feminist. An essential book for students of Chantal Akerman’s work, Nothing Happens will also interest international film critics and scholars, filmmakers, art historians, and all readers concerned with feminist film theory.

    Premiered at the Bush theatre in 1993 Beautiful Thing was released as a feature film by Channel Four films in 1996 directed by Hettie Macdonald and featuring Meera SyalBeautiful Thing explores pre-teenage homo-erotic sensuality and the frictions and intimacies of living cheek by jowl on a Thamesmead housing estate.

    Monsters, Mutants and Heavenly Creatures: Confessions of 14 Classic Sci-Fi/Horrormeisters! [Paperback]

    He was mysterious and mythic at the same time, the epitome of the American hero: compassionate, honest, patriotic, inventive, an unswerving champion of justice and fair play.

    Featuring hundreds of entries and photos, new facts and essential trivia, entertaining stories and anecdotes, a full filmography, and a new Foreword by film critic and historian Leonard Maltin.

    This book teases out the effects of the Production Code, and the contributions of director Joseph H Lewis, writers MacKinlay Kantor and the blacklisted Dalton Trumbo, and stars, Peggy Cummins and John Dall.

    All books have 8-page color photo sections and are shaped like a CD box, designed to fit alongside your CD collection.

    "Trainspotting" is based on Irvine Welch's novel about heroin addicts and the underbelly of Edinburgh life. In "Shallow Grave" three young people discover a dead body and a suitcase full of money in their flat.

    Anderson defines the complex interaction of motion pictures with the human mind and organizes the relationship between film and cognitive science.Anderson’s primary argument is that motion picture viewers mentally process the projected images and sounds of a movie according to the same perceptual rules used in response to visual and aural stimuli in the world outside the theater. To process everyday events in the world, the human mind is equipped with capacities developed through millions of years of evolution. In this context, Anderson builds a metatheory influenced by the writings of J. J. and Eleanor Gibson and employs it to explore motion picture comprehension as a subset of general human comprehension and perception, focusing his ecological approach to film on the analysis of cinema’s true substance: illusion.Anderson investigates how viewers, with their mental capacities designed for survival, respond to particular aspects of filmic structure—continuity, diegesis, character development, and narrative—and examines the ways in which rules of visual and aural processing are recognized and exploited by filmmakers. He uses Orson Welles’s Citizen Kane to disassemble and redefine the contemporary concept of character identification; he addresses continuity in a shot-by-shot analysis of images from Casablanca; and he uses a wide range of research studies, such as Harry F. Harlow’s work with infant rhesus monkeys, to describe how motion pictures become a substitute or surrogate reality for an audience. By examining the human capacity for play and the inherent potential for illusion, Anderson considers the reasons viewers find movies so enthralling, so emotionally powerful, and so remarkably real.

    Film critics and academics examine American Westerns during the period 1939 to the present, analyzing classic films and discussing issues such as masculinity and machismo in Westerns; the Westerns of Marlene Dietrich; class structure in the Western; and the way Westerns have shaped and have been sha

    Tom Hennesy played the title role in Clint Eastwoods first movie--Revenge of the Creature. Go behind the scenes with 20 of the most talkative people of Hollywoods horror, science fiction and serial films of the 1930s through 1960s: Fuller, Hennesy, Junior Coghlan, Charlotte Austin, Les Baxter, John Clifford, Mara Corday, Kathleen Crowley, Michael Fox, Anne Gwynne, Linda Harrison, Michael Pate, Gil Perkins, Walter Reed, Joseph F. Robertson, Aubrey Schenck, Sam Sherman, Gloria Stuart, Gregory Walcott and Robert Wise. Also included is "A Salute to Ed Wood, " with illustrations by Drew Friedman. Some interviews were published in different form in fan magazines.

    With Contesting Tears, Cavell demonstrates that a contrasting genre, which he calls "the melodrama of the unknown woman," shares a surprising number and weave of concerns with those comedies.Cavell provides close readings of four melodramas he finds definitive of the genre: Letter from an Unknown Woman, Gaslight, Now Voyager, and Stella Dallas. The women in these melodramas, like the women in the comedies, demand equality, shared education, and transfiguration, exemplifying for Cavell a moral perfectionism he identifies as Emersonian. But unlike the comedies, which portray a quest for a shared existence of expressiveness and joy, the melodramas trace instead the woman's recognition that in this quest she is isolated. Part of the melodrama concerns the various ways the men in the films (and the audiences of the films) interpret and desire to force the woman's consequent inaccessibility."Film is an interest of mine," Stanley Cavell has written, "or say a love, not separate from my interest in, or love of, philosophy." In Contesting Tears Cavell once again brilliantly unites his two loves, using detailed and perceptive musings on melodrama to reflect on philosophical problems of skepticism, psychoanalysis, and perfectionism. As he shows, the fascination and intelligence of such great stars as Ingrid Bergman, Bette Davis, and Barbara Stanwyck illuminate, as they are illuminated by, the topics and events of these beloved and enduring films.

    Comic material and showbiz anecdotes combine in this volume, to tell the story of his life at the forefront of British comedy.

    Beginning with the intellectual and institutional history, and the cultural politics, of American underground cinema, this work moves to the filmmakers' work - Anger's taste for ornamentation, stylistic excess, and hot-rod and motor-cycle subcultures; Smith's interest in 1920s and 40s movie glamour and decaying urban landscapes.

    Authorized by Dwight's son Dwight David, the book includes detailed information of Frye's early stage work, his Broadway triumphs and his ghoulish typecasting in Hollywood--which ironically assured him a posthumous cult status among horror film disciples.

    Collections of interviews with notable modern writers

    Originally published to coincide with a major traveling exhibition of her work, it is illustrated with almost 500 images, and constitutes a thorough survey of her work. Reproductions of her most important paintings and sculptures from the years 1953 to 1992 are complemented by a photographic essay tracing her life and travels.

    Shonagon's protagonist is recast as Nogiko, a beautiful young writer. As a child, Nogiko was affected by two seminal experiences--her father writing on her face each birthday, and her mother reading to her from a thousand-year-old "pillow book," a diary kept by its author (also a woman named Nogiko) in the drawer of a wooden pillow. As a grown woman, the contemporary Nogiko is obsessed with finding lovers to write on her body. After each physical encounter with a lover, Nogiko painstakingly transcribes what he has written, even if it means using mirrors to decipher those characters on parts of her body such as the small of the back or the eyelid. Nogiko's efforts to preserve her lovers' writings and her need to continue the tradition illustrate the physical and sensual power of literature. This book includes Greenaway's original screenplay (before the final movie edit), color stills from the film, and Greenaway's illuminating notes on the story.

    His credits include such landmarks as Double Indemnity, Sunset Boulevard, Some Like It Hot, and The Apartment. Wilder Times provides a long-overdue biography of one of film's finest writer-directors. Photos.

    This exuberant look at Britain's most hilarious comedy team contains everything you need to know about Carry On, including:· All 31 films featured· Full cast lists and production details· Best scenes and best jokes for each film· TV specials and stage shows· Complete Carry On Chronology· Carry On filmography of all 120 key personnel· 100 illustrations, including 36 in color· Exclusive interviews with the stars

    The film scripts collected here for the first time- including Akenaten, Jubilee, Bob-Up-A-Down, B Movie: Little England/ A Time of Hope, Neutron and Sod 'Em - confirm Derek Jarman's reputataion as a leading independent film-maker.

    It examines how art has shifted toward film, how film has been influenced by art, and how the two have fused into new forms of artistic expression. Published in conjunction with a major exhibition organized by The Museum of Contemporary Art, Los Angeles, Art and Film features work by more than one hundred of the century's most remarkable filmmakers and artists, such as Joseph Cornell, Alfred Hitchcock, Akira Kurosawa, Jean-Luc Godard, Michelangelo Antonioni, Richard Hamilton, Diane Arbus, Andy Warhol, Raul Ruiz, John Baldessari, Cindy Sherman, Hiroshi Sugimoto, and Stan Douglas. The book's seven essays range widely over themes including Hollywood glamour and stardom, the experimental cinema of the sixties, the influence of psychoanalytic and feminist film theory on art, nostalgia for cinema's golden age, and presentiments of its fragmentation and death. The dialogue between art and film returns frequently to cinema's origins, splintering and re-arranging into new, self-reflexive experiences that highlight and subvert film practice.

    In this volume, Noel Carroll examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, and comedy, and such topics as sight gags, film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new approach to film theory.

    Each entry includes cast and credits, a plot synopsis, in-depth critical analysis, contemporary reviews, time of release, brief biographies of the principal cast and crew, and a production history. Apart from the 46 main entries, 71 additional "borderline horrors" are examined and critiqued in an appendix.

    Using Coppola's screenplay, The Conversation as the primary example, the philosophy and mechanics behind motion picture budgeting are explained.

    24 b/w photos. The Newmarket Shooting Script(tm) Series features an attractive 7 x 9 1/4 inch format that includes a facsimile of the film's shooting script, as chosen by the writer and/or director, exclusive notes on the film's production and history, stills, and credits.

    From Simon & Schuster, Seen That, Now What? is Andrea Shaw's ultimate guide to finding the video you really want to watch and is the world's first useful video guide.Seen That, Now What? is your own personal video genius, who knows everything about movies and exactly what you like to watch.

    But rather than dismissing popular culture, Henry Giroux addresses its political and pedagogical value as a site of critique and learning and calls for a reinvigorated critical relationship between cultural studies and those diverse cultural workers committed to expanding the possibilities and practices of democratic public life.

    From the early cinematic career of Frank Capra to the psychologically revealing films of Martin Scorsese, the books in this series offer an authoritative guide to the study of film and its trends by studying individual filmmakers and cinematic movements.

    In 1929 and 1930, film musicals became the industry's most lucrative genre--until the greedy studios almost killed the genre by glutting the market with too many films that looked and sounded like clones of each other. From the classy movies such as Sunnyside Up and Hallelujah! to failures such as The Lottery Bride and Howdy Broadway, this filmography details 171 early Hollywood musicals. Arranged by subgenre (backstagers, operettas, college films, and stage-derived musical comedies), the entries include studio, release date, cast and credits, running time, a complete song list, any recordings spawned by the film, Academy Award nominations and winners, and availability on video or laserdisc. These data are followed by a plot synopsis, including analysis of the film's place in the genre's history. Includes over 90 photographs.

    For over 35 years The Focal Encyclopedia of Photography has been a constant source of reference and an indispensible tool for both professionals and amateur photographers alike. This comprehensive 3rd edition covers traditional and time-honored processes from the earliest beginnings of photography, right up to the most innovative developments of the 1990's, including electronic imaging.

    From Borom Sarret (1963) to Guelwaar (1992), Sembene has developed a political and aesthetic project that has deeply influenced the evolution of African filmmaking. This project, with its goal to create a new Africa free of the remnants of colonialist oppression, has subsequently become the objective of emerging generations of African filmmakers. In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.In this book seven scholars explore Sembene's notion of a new Africa by examining the central issues of change, cultural alienation and economic dependence that infuse the director's cinematic and literary works.

    He consciously chose not to shape his career by projecting his own personality, but created a new characterization for each role by becoming the individual he was portraying. Because of this, March is not as well remembered as many of his contemporaries. March was honored 12 years after his death at a tribute in 1987, but by then, many did not even know who he was. In this fascinating biography, Peterson details who March was, and why he was a craftsman first, star second.Yet, Fredric March is not as well remembered as his contemporaries, such as Bogart and Tracy, screen heroes who shaped their careers by projecting their own personalities. Instead March, endeavored to create a new characterization for each role by concealing his own temperament, becoming the individual he was portraying. From 1939 to 1961 he successfully flourished on the Broadway stage as well as on the Hollywood film lot. After 1961 he gracefully grew old in motion pictures, starring at the age of 75 in the 1973 movie version of O'Neill's The Iceman Cometh, two years prior to his death. March was honored posthumously at a joint tribute to the actor from the Academy of Motion Picture Arts and Sciences and the American Cinematheque in 1987, 12 years after his death. But, by then, many did not even know who the actor was. In this fascinating biography, Peterson reveals who March was, and why he was a craftsman first, star second. Essential for all researchers interested in film studies and drama.

    His movies Moonstruck, Five Corners, and Joe Versus the Volcano have starred such Hollywood luminaries as Cher--who took home an Oscar for her performance in Moonstruck--Nicolas Cage, Jodie Foster, John Turturro, Meg Ryan, and Tom Hanks. This collection showcases Shanley's talent for creating dialogue that is true to his characters and his ability to tell their stories in eccentric and intensely humorous situations.

    She lived up to expectations with Something to Talk About, which won praise for its originality and authenticity. Published here in one volume, these two screenplays gives us an opportunity to savor the work of a groundbreaking author.

    Yet before long he was considered not only a fine actor but also the sexiest man in films. Determined to control his career, he broke away from the studio system that dictated what roles he could take and, with astute choices of scripts and directors, established a screen presence that has remained both popular and respected. From Cat on a Hot Tin Roof and The Hustler to The Sting and Slap Shot, and on to The Colour of Money, Mr. and Mrs. Bridge and Nobody's Fool, Paul Newman has demonstrated his versatility as an actor.

    Actresses are creating their own production companies in order to obtain better roles and more control of their material. Women are creating TV shows to explore stories that more closely reflect their lives. There are more films about women and women's issues, and more money-making films with women protagonists. Change is occurring at every level, and women are clearly having an impact that is reshaping the entertainment industry and the product it delivers. Who better to tell of these changes than script consultant and author Linda Seger. Through interviews with key players such as Sherry Lansing, Dawn Steel, Gillian Armstrong, Marlo Thomas, Linda La Plante, Nora Ephron, Liv Ullman, Loretta Young, Jane Wyman, and many, many others, she shows just what a woman's influence means in what we see - and what we will see much more of in the years ahead - in movie theaters and on our TV screens and how, in turn, that power affects society.

    Through close analysis of a wide range of films such as I Was a Teenage Werewolf and Creature of the Black Lagoon Mark Jancovich argues that horror films of the 1950s developed a critique of conservatism, conformity, mass society and masculinity. In addition, he claims that while many critics have seen contemporary horror as the product of a break with that of the 1950s, most of the key elements within recent horror films and novels were actually established during this time.

    

    Outlines the background of the various film prizes and lists the movies, actors, and others that have won such awards as the Oscars, Golden Globes, Directors Guild of America, the top prizes at the leading film festivals, the Harvard Lampoon and Golden Raspberry awards for bad films, and other priz