Cold Mountain Penitentiary houses convicted killers awaiting their turn to walk the Green Mile to the electric chair. But there's never been anyone like John Coffey, with the body of a giant and the mind of a child.

    This comprehensive 434 page book is grouped into thirteen chapters that examine common themes in Burton's work, from his fascination with clowns to his passion for misunderstood monsters, to his delight in the oddities of people. Many of Burton's friends and collaborators offer their thoughts, insights and anecdotes about Tim Burton's style and artistic approach to life.Artwork from the following films and projects are included in this book: Alice in Wonderland (2010), Sweeney Todd: The Demon Barber of Fleet Street (2007), Charlie and the Chocolate Factory and Corpse Bride (both 2005), Big Fish (2003), Planet of the Apes (2001), Sleepy Hollow, (1999), Mars Attacks! (1996), Ed Wood (1994), The Nightmare Before Christmas (1993), Batman Returns (1992), Edward Scissorhands (1990), Family Dog (1987), Batman (1989), Beetlejuice (1988), Pee-Wee's Big Adventure (1985), Frankenweenie (1984), Vincent (1982), and Hansel & Gretel (1982). The book also contains additional drawings from his illustrated book of poetry The Melancholy Death of Oyster Boy & Other Stories (1997), and from The World of Stainboy web shorts (2000).Text By: Leah Gallo, Design by: Holly Kempf, Edited by: Derek Frey, Leah Gallo & Holly Kempf*PLUS*Personal text contributions by friends and fellow creatives including:Allison Abbate, Colleen Atwood, John August, Rick Baker, Helena Bonham Carter, Felicity Dahl, Johnny Depp, Danny Devito, Danny Elfman, Carlos Grangel, Ray Harryhausen, Martin Landau, Rick Heinrichs, Christopher Lee, Lindsay Macgowan, Shane Mahan, Ian Mackinnon, Alex Mcdowell, Victoria Price, Ken Ralston, Paul Reubens, Deep Roy, Winona Ryder, and Richard Zanuck.

    In his distinct voice we hear Wilder's inside view on his collaborations with such stars as Barbara Stanwyck, Gary Cooper, Marilyn Monroe, Jack Lemmon, Tony Curtis, William Holden, Audrey Hepburn, and Greta Garbo (he was a writer at MGM during the making of Ninotchka. Here are Wilder's sharp and funny behind-the-scenes stories about the making of A Foreign Affair, Double Indemnity, Sunset Boulevard, Love in the Afternoon, Some Like It Hot, The Apartment, and Ace in the Hole, among many others. Wilder is ever mysterious, but Crowe gets him to speak candidly on Stanwyck: "She knew the script, everybody's lines, never a fault, never a mistake"; on Cary Grant: "I had Cary Grant in mind for four of my pictures . . . slipped through my net every time"; on the "Lubitsch Touch": "It was the elegant use of the super-joke." Wilder also remembers his early years in Vienna, working as a journalist in Berlin, rooming with Peter Lorre at the Chateau Marmont -- always with the same dry wit, tough-minded romanticism, and elegance that are the hallmarks of Wilder's films. This book is a classic of Hollywood history and lore.

    If you want to learn more, this excellent 2nd-edition is detailed with hundreds of secrets that will help make your comps seamless. For beginners or experts, Ron walks you through the processes of analysis and workflows - linear thinking which will help you become deft and successfully tackle any shot. - Dennis Muren ASC, Senior Visual Effects Supervisor, Industrial Light & MagicRon Brinkman's book is the definitive work on digital compositing and we have depended on this book as a critical part of our in-house training program at Imageworks since the 1999 Edition. We use this book as a daily textbook and reference for our lighters, compositors and anyone working with digital imagery. It is wonderful to see a new edition being released and it will certainly be required reading for all our digital artists here at Imageworks.- Sande Scoredos, Executive Director of Training & Artist Development, Sony Pictures ImageworksThe Art and Science of Digital Compositing is the only complete overview of the technical and artistic nature of digital compositing. It covers a wide range of topics from basic image creation, representation and manipulation, to a look at the visual cues that are necessary to create a believable composite. Designed as an introduction to the field, as well as an authoritative technical reference, this book provides essential information for novices and professionals alike. *17 new case-studies provide in-depth looks at the compositing work done on films such as Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Golden Compass, The Incredibles, King Kong, The Lord of the Rings: The Return of the King, Sin City, Spider-Man 2, Wallace and Gromit: The Curse of the Were-Rabbit, and Star Wars: Episode 3-Revenge of the Sith. *The accompanying DVD-ROM features bonus resources, including example footage from hit films and projects that give readers hands-on experience with real industry materials.*Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!

    Mark Vieira documents the infamous power struggle between Hollywood producers and the censors, who sought to forbid profanity, excessive violence, illegal drugs, sexual perversion and explicitness, white slavery, racial mingling, suggestive dancing, lustful kissing and the like. visual artistry of the era's controversial films and highlights the careers of screen luminaries such as Marlene Dietrich, Greta Garbo, Jean Harlow, James Cagney, Mae West, Clara Bow, Joan Crawford, Claudette Colbert, Norma Shearer, Gary Cooper and Clark Gable.

    It is a refreshingly offbeat comedy about young Max Fish, a precocious pupil at a conservative private school. He is a live wire, a teenager full of madcap entrepreneurial schemes that usually in failure. His personal life becomes similarly complicated when he falls for his elegant teacher, Rosemary Cross, and finds himself vying for her favor with Herman Blume-who is portrayed in the film by Bill Murray-the wealthy father of two of his classmates. Max ultimately proves himself a figure of some tenacity as he negotiates the minefield of love, desire, and adolescence.At the Toronto Film Festival, Screen International called Rushmore "a real charmer filled with surprise twists and emotions that avoid sentimentality . . . A little gem."

    From horror masterpieces like The Beyond and Zombie Flesh-Eaters to erotic thrillers like One On Top of the Other and A Lizard in a Woman's Skin; from his earliest days as director of manic Italian comedies to his notoriety as purveyor of extreme violence in the terrifying slasher epic The New York Ripper, his whole career is explored. Supernatural themes and weird logic collide with flesh-ripping gore to breathtaking effect. Bleak horrors are transformed into bloody poetry - Fulci's loving camera technique, and the decayed splendour of his art design, make the films more than just a gross endurance test. Lucio Fulci built up a fanatical following, who at last will have the chance to own this book - five years in the making - which is the ultimate testament to 'The Godfather of Gore'. Featuring a foreword by Fulci's devoted daughter Antonella, and produced with her blessing and full co-operation. This book is quite simply the last word on Fulci. His whole career is studied in obsessive depth. Huge supplementary appendices make this volume essential for all serious students of the Italian horror movie scene. Featuring COMPLETE FILMOGRAPHIES for ALL the major actors and actresses ever to appear in Fulci films, the appendices alone are a unique, breathtakingly detailed reference source in their own right. Without doubt, by far and away the largest collection of Fulci posters, stills, press-books and lobby cards ever seen together in print. We have scoured the Earth to find the most stunning, rare and eye-catching Fulci images. Everything worth seeing is here. This is a truly beautiful book.

    In this lavish tribute to Pickford (1892-1979), her enormous and wide-ranging body of work is illustrated with fabulous film stills, rare production shots, and personal photographs -- most never before published -- from the Academy of Motion Picture Arts and Sciences' Margaret Herrick Library.Today's audiences have little knowledge of Pickford's films, let alone of her enormous behind-the-scenes power as one of Hollywood's pioneering producers and cofounder of United Artists. This first illustrated filmography of Pickford's career accords her achievements the recognition they deserve. Noted film historian Kevin Brownlow draws on interviews with Pickford and her circle to provide entertaining film-by-film commentaries full of wonderful anecdotes about the silent era.

    Part time-machine, part detective story, it presents a fresh look at the matchless Keaton at work, as well as a captivating glimpse of Hollywood's most romantic era. More than a book for film, comedy, or history buffs, this book will appeal to anyone fascinated with solving puzzles or witnessing the awesome passage of time.

    His evaluative comments are worthwhile, and his recounting of historical developments is both accessible and informative. Fans will appreciate his attention to detail, while casual readers will benefit from his skilled survey.” — Library Journal

    One of a hand-picked selection of some of the most popular and cult-worthy titles on Faber and Faber's extensive list of film scripts.

    In his films, Solaris, Mirror, Stalker and The Sacrifice, Tarkovsky defined a new way of looking at the world. His non-realistic, highly-charged images are a continuing source of inspiration - not only for a new generation of film-makers, but also for poets, musicians and painters. This volume collects his great works for the first time in one volume, as well as three of his unproduced screenplays. This material provides a unique glimpse into the way Tarkovsky's vision evolved from the printed text to its final form on celluloid. The book also contains an extended essay by film critic and historian Ian Christie, who places Tarkovsky's work in the context of Soviet film-making practice.

    Through a career that spanned decades and 140 films -- among them such American masterpieces as The Searchers, The Grapes of Wrath, Stagecoach, and The Man Who Shot Liberty Valance -- John Ford left a cinematic legacy that few filmmakers will ever equal. Yet Ford himself was famously reticent about his personal life, often fabricating details and events. In this definitive look at the life and career of one of America's greatest directors, Scott Eyman offers a remarkable portrait of the man behind the legend that reveals how a saloon keeper's son from Maine helped to shape Hollywood's idea of America.

    In addition to being an icon of stage and screen large and small, Price was also an avid art collector, a gourmand, a dashing and relentless charmer, and a loving father. His daughter Victoria was born shortly before Price turned 51, at the height of his popularity. Though the star's busy film schedule took him in and out of his young daughter's life, he was always a larger-than-life presence and, simply, her father. Victoria adored him, and despite his harrowing schedule, their relationship was close. That is, until Price married his third wife, the headstrong and independent actress, Coral Browne. Victoria was a girl of twelve, and her new stepmother resented the strong relationship between father and daughter, and consequently did much to keep the two apart. Late in Price's life, however, he and his daughter were brought together again for some of their most memorable time together. In this elegant biography-cum-memoir, Victoria Price reveals a man both complex and human. An actor of range, he starred in both the film noir milestone Laura and the Biblical classic The Ten Commandments. As a "pre-war anti Nazi sympathizer," he was greylisted during the Red Scare of the 1950s-until, in a desperate gesture, he signed a secret oath that saved his career. And his passion for the arts gave him a second life as an erudite columnist and collector, even as his films graced drive-ins nationwide. Victoria Price's account life of her father is full and candid; both his passionate and charismatic public persona and his conflicted inner life are treated with curiosity and understanding.Vincent Price: A Daughter's Biography is, in short, the thorough-and uniquely intimate-life of a legend.

    For the past ten years he has been attempting to decode the numerical pattern beneath the ultimate system of ordered chaos-the stock market. As Max verges on a solution, chaos is swallowing the world around him. He is pursued by an aggressive Wall Street firm set on financial domination as well as by a Kabbalah sect intent on unlocking the secrets behind its ancient holy texts. Max races to crack the code, hoping to defy the madness that looms before him. In succeeding, he uncovers a secret everyone is willing to kill for.Also included with the screenplay is a full journal of how Darren Aronofsky made this award-winning film on a minuscule budget of $60,000, providing practical advice and inspiration to film students and offering film buffs rare insight into how an independent film is made.

    But look closer. Lester Burnham's wife, Carolyn, regards him with contempt, his daughter, Jane, thinks he's a loser, and his boss is positioning him for the ax.Captivated by Jane's sultry high school friend Angela, Lester decides to make a few changes in his mere existence—changes that are less mid-life crisis than a life reclaimed. The freer he gets, the happier he gets, which is even more maddening to his wife and daughter. Complicating matters, Lester finds an unexpected ally in Ricky, the teenage son of the new next-door neighbors, who sees life through a camera lens that has lately focused on Jane Burnham.In pursuit of his new vision of the American dream, Lester is about to learn that the ultimate freedom comes at the ultimate price.The 1999 winner of five Academy Awards®, including Best Picture and Best Original Screenplay, American Beauty boasts an accomplished cast led by two-time Academy Award® Best Actor winner Kevin Spacey (The Usual Suspects) and Oscar® nominee Annette Bening (The Grifters). The ensemble cast also includes Thora Birch (Ghost World), Wes Bentley (The Claim), Mena Suvari (American Pie), Peter Gallagher (Mr. Deeds), Allison Janney (NBC's The West Wing), Scott Bakula (NBC's Quantum Leap), Sam Robards (A.I.: Artificial Intelligence), and Chris Cooper (Adaptation).American Beauty marks the feature film directorial debut of award-winning theater director Sam Mendes (The Blue Room, Cabaret). The film is produced by Dan Jinks (Nothing to Lose) and Bruce Cohen (The Flintstones in Viva Rock Vegas) from an original screenplay by Alan Ball (HBO's Six Feet Under). Stan Wlodkowski (One Hour Photo) and Alan Ball are the co-producers.

    From the medieval mock-epic Monty Python and the Holy Grail to the mythic, paranoid worlds of The Fisher King, Twelve Monkeys and Fear and Loathing in Las Vegas, Gilliam has pursued a totally personal, uncompromising vision. This has led to legendary battles with studios and financiers, notably over The Adventures of Baron Munchausen and Brazil, which is now widely considered a classic. Gilliam is a famously candid commentator on his own work, and in these specially recorded interviews he reflects on how his Midwestern childhood and early career as an animator prepared him to undertake his extraordinary adventures in cinema.

    Here are the great divas, Pola Negri and Gloria Swanson; the great flappers, Colleen Moore and Clara Bow; the great cowboys, William S. Hart and Tom Mix; and the great lover, John Gilbert. Basinger also includes the quintessential slapstick comedienne, Mabel Normand, with her Keystone Kops; the quintessential all-American hero, Douglas Fairbanks; and, of course, the quintessential all-American dog, Rin-Tin-Tin.

    

    His body of work was small — thirteen features and one short film, made over five decades — but it established him as one of the greatest artists of the twentieth century.Though Bresson's subjects and sources ranged widely — his films are derived from Diderot, Dostoevsky, Bernanos, and Tolstoy, from the transcripts of the trial of Joan of Arc and the Arthurian legends — his severe style remained constant. Awed, inspired, and sometimes mystified by the beauty and austere perfectionism of Bresson's style, critics and directors have been moved to passionate debate about his singular ideas on the use of sound, actors, editing, and music.Despite, or perhaps of, his rejection of the core tenets of traditional filmmaking, Bresson exerted a profound influence on many directors, from the French New Wave and American independents to countless contemporary Asian and European auteurs. Robert Bresson (Revised) , as its title suggests, updates and amends the original volume, which accompanied a major retrospective of the director's films and was the first English-language collection of essays on Bresson in many decades. Greatly expanded and richly illustrated, this examination of Bresson's vision and style draws together over two dozen important articles by leading critics and scholars, including classics studies by Susan Sontag and André Bazin, and commentaries by Roland Barthes and Alberto Moravia. Provocative new analyses by such august film historians as David Bordwell, Jean-Michel Frodon, and Shigehiko Hasumi join a selection of articles by emerging scholars that break new ground in relating Bresson's cinema to hitherto unexamined intellectual, aesthetic, and philosophical currents. The book is rounded out by four essential interviews with Bresson; the illuminating testimony of L. H. Burel, the cinematographer of four of his greatest films; and several essays by leading directors, from Michael Haneke tot the Dardenne brothers, which reveal why Bresson is considered first and foremost "a film-maker's filmmaker.

    A perfect example of Hollywood cinema at its best, it is an engaging piece of entertainment as well as a fascinating meditation on the nature of the film itself. A suspense thriller about a chair-bound observer who suspects his neighbor of murdering his wife, the narrative becomes the vehicle for Hitchcock's exploration of the basic ingredients of cinema, from voyeurism and dreamlike fantasy, to the process of narration itself. This volume provides a fresh analysis of Rear Window, which is examined from a variety of perspectives in a series of essays published here for the first time.

    In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted.Kaes uses the term "shell shock"--coined during World War I to describe soldiers suffering from nervous breakdowns--as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today.A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar's sleek fa�ade.

    Few know, however, that he is just as gifted a writer, and his resolutely purple prose, as eccentric and enchanting as his film work, is a true delight. From the Atelier Tovar gathers, in one volume, the best of Maddin's writing: his journalism (originally published in the Village Voice, Cinema Scope, Film Comment and points beyond), unpublished short stories and film treatments (including the riotous Child Without Qualities), and selections, both lurid and illuminating, from the filmmaker's personal journals. Here are Maddin's feverish musings on hockey, the Osmonds, divas of the Italian silent cinema, Bollywood, his own twisted biography, and much, much more. What emerges finally is both a fragrant potpourri and a treasure trove, a singular portrait of this very unique artist.

    Both an indispensable reference guide and an irresistible treat for film buffs, "The Noir Style" is an engaging and informative addition to the literature of film.

    Billy Wilder developed the play and made the film version more interesting in every way. Edwin Blum, a veteran screenwriter and friend of Wilder's, collaborated on the screenplay but found working with Wilder an agonizing experience.Wilder's mordant humor and misanthropy percolate throughout this bitter story of egoism, class conflict, and betrayal. As in a well-constructed murder mystery, the incriminating evidence points to the wrong man. Jeffrey Meyers's introduction enriches the reading of Stalag 17 by including comparisons with the Broadway production and the reasons for Wilder's changes.

    60 black & white movie stills and posters, Index, Filmography.

    and he always knows best. Pay tribute to Dad with this wonderful lineup of books that are sure to please.

    The result is a decade's worth of truly monumental cinema, from Hitchcock masterpieces (Vertigo, Psycho, Rear Window) to comedy classics (Tati's Mr. Hulot's Holiday, Billy Wilder's Some Like it Hot) to groundbreaking nouvelle vague films (Godard's Breathless, Truffaut's The Four Hundred Blows) and profound, innovative dramas such as Antonioni's L?Avventura, Fellini's La Strada, John Huston's Misfits, and Kubrick's Paths of Glory. Though censorship kept sex safely off-screen, sexy stars such as James Dean, Marlon Brando, and Marilyn Monroe provided plenty of heat in Rebel Without a Cause, A Streetcar Named Desire, and Gentlemen Prefer Blondes respectively. A survey of the most important films of the 1950s

    Any list of the greatest films of all time is sure to include titles like Psycho, Dial M for Murder, Vertigo, and North by Northwest.In this lavishly produced book, Wolff and Nourmand have collected all the best promotional art -- including posters, lobby cards, and other promotional materials -- of Hitchcock's entire career, including material so rare that the copy photographed for this book is the only one known to have survived. Among the treasures displayed: an American poster for Woman to Woman, the 1923 film for which Hitchcock wrote the screenplay and served as assistant director and art director; a poster for the first film he directed, The Pleasure Garden of 1925; and material from classic films like Strangers on a Train and To Catch a Thief. Hitchcock Poster Art provides a fascinating look at the international scope of the master's influence and appeal.

    The book details the history of the 24 Hours of Le Mans and the backgrounds of Alfa Romeo, Ferrari, Lola, Matra and Porsche leading up to the 1970 Manufacturers' Championship Series. You're there when Steve hones his driving skills in his Porsche 908 at Willow Springs, Phoenix and Riverside; and at the 1970 Daytona 24 Hours, 12 Hours of Sebring, and 24 Hours of Le Mans, on which the film Le Mans was based. A major portion of the book gives a detailed behind-the-scenes account of the making of Le Mans--from start to finish--with insightful and entertaining stories from some of the key players involved in the making of the film, both from behind the cameras and behind the wheels of the more than 25 cars used during the production: Alfa Romeos, Corvettes, Chevrons, Ferraris, Porches, Lotas, & Matras. Chapters: 1. Author's Notes 2. Foreword 3. Wheels & Reels 4. The Man and the Machine 5. Twice Around the Clock 6. Havin' A Ball 7. Rules & Regulations 8. Alfa Romeo 9. Ferrari 10. Lola, 11. Matra 12. Porsche 13. 24 Hours of Daytona 14. Getting Competitive 15. 12 Hours of Sebring 16. Test Weekend 17. Cracks in the Facade 18. The Making of Le Mans

    Now, his only child gives us an extraordinary memoir-a book that reveals the Gary Cooper only she knew. Illustrated throughout with 175 photographs, including many never-before-published family pictures, Maria Cooper Janis' heartfelt book offers an unprecedented look at her father's private side, from his Montana boyhood and his Hollywood home life to his friendships with Ernest Heming way, Pablo Picasso, and Jimmy Stewart, among others. Filled with anecdotes that capture the off-screen humor and warmth of this avid outdoorsman and great humanitarian, Gary Cooper Off Camera is an unforgettable portrait of a great star and a beloved father. 175 photographs in duotone, 911/2 x 11"

    This volume is devoted to Carradine's films. In addition to a comprehensive filmography, there is a biography of Carradine (contributed by Greg Mank), commentary on the man by indie film director Fred Olen Ray, and a piece by director Joe Dante, who writes about Carradine's involvement in Dante's 1981 werewolf movie, The Howling.

    40 photos.

    

    Seven, which starred Brad Pitt and Gwyneth Paltrow, followed the trail of a serial killer, whose victims were murdered in accordance with the seven deadly sins. 8mm focuses on Tom Welles -- portrayed by Nicolas Cage -- an honest and hardworking private detective, who discovers an appalling 8mm "snuff" film in which a teenage girl was raped and killed. Hired to track down the masked murderers shown in the film, Welles reconstructs the dead girl's unhappy life; in the course of his investigation, he learns that all fantasies can be filmed to order, at a terrible price, and he becomes obsessed with avenging the girl's death.

    The films are selected to provide interesting viewing, key cultural information, and accessible language levels. Each chapter of the book is devoted to a single movie and includes aids for students watching the film, discussing and writing about the film, and understanding the film in a broader cultural context.Also included: vocabulary helpful to understanding and discussing the film; structured exercises in understanding the film once it has been viewed, especially for discussion in class; an accompanying reading for each film designed to provide perspective on the film itself.New features for the third edition are: more cultural, historical and literary information about the film and its story; new and additional readings; a section for each film dealing with art.

    It examines all of the director's career, from the early films made in the UK in the 1920s and 1930s, to his move to Hollywood where he became co-producer as well as director of his films.

    This McFarland Classic brings together over fifty interviews with the directors, producers, actors, and make-up artists of science fiction and horror films of the 1940s, 1950s, and 1960s. From B movies to classics, Samuel Z. Arkoff to Acquanetta, these veteran vampire baits, swamp monsters, and flying saucers attackees share their memories. This classic volume represents the union of two previous volumes: Interviews with B Science Fiction and Horror Movie Makers ("more fun than the lovably cheap movies that inspired it"--Booklist/RBB); and Science Fiction Stars and Horror Heroes ("candid...a must" --ARBA). Together at last, this combined collection of interviews offers a candid and delightful perspective on the movies that still make audiences squeal with fear, and occasionally, howl with laughter.

    These filmmakers are each given a single film still that exemplifies their work; the accompanying text explores how they exploit the cinematic arts—composition, color, camera angle and movement, lighting, sound, sets, and action—to convey their thematic obsessions and artistic visions. This simple premise builds into one of the most fascinating, visually arresting, and insightful of all film books. Never have the images of cinema and the words written about it been so expertly tied together. The result is an entertaining and genuinely enlightening film reference.

    His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.

    in 1937, this fast-paced, rollicking romp starring Hank Azaria, Ruben Blades, Vanessa Redgrave, Emily Watson, Bill Murray, Susan Sarandon, John and Joan Cusack, John Turturro, and others, dramatizes the events surrounding the final, emotionally-wrought days of the Federal Theater Project.This unique film/history book includes a lengthy essay and notes from Robbins along with his complete shooting script, 115 behind-the-scenes movie stills, comments from cast and crew members, complete production credits, 34 archival photos, and 30 illuminating historical articles, written exclusively for this book mainly by social historian Eric Darton (Divided We Stand).

    Secchiaroli's portraits of these and other personalities combine the immediacy of photojournalism with the glamour and sensuality that personified Italy in the 1950s and 60s -- the heyday of its cinematic glory. But it was as Fellini's set photographer that Secchiaroli's passion for glamour, action, and the cinema thrived. This volume of sixty black-and-white photographs taken on and off the set at the legendary studio Cinecitta, where Secchiaroli was given free rein during the filming of 8 1/2, offers not only a generous sampling of Secchiaroli's best work, but an intimate look at Fellini's own unique persona and creative process. Secure and relaxed, even in front of Secchiarali's lens, Fellini felt free to indulge in the kind of juvenile clowning for which he was famous. As a result, Secchiaroli was able to capture the vibrant, otherworldly atmosphere on Fellini's set which, like his films, was colorful, chaotic, and magical. A must for fans of Fellini, films, and fine celebrity photography, this exciting volume offers a one-of-a-kind perspective on the making of a masterpiece.

    Theatre professor Dale Moffitt has edited and arranged by subject twelve hours of spontaneous question and answer sessions from Brook's visit to the Southern Methodist University campus.Ranging widely over many topics, Brook talks about his innovative and award-winning production of Marat/Sade, his film and stage versions of King Lear, his nine-hour production of the Indian epic The Mahabharata. With passion and clarity he discusses acting, directing, auditions, film vs. the stage, his responses to the work of other theatre figures like Grotowski and Artaud, and the multiculturalism which characterizes his most recent work.

    Originally published under the title The Spectator, this “knowledgeable and perceptive” (Library Journal) look at show business presents the actors directors, playwrights, dancers, lyricists, and others who created the dramatic works of the twentieth century.Among the many highlights in these pages, Buster Keaton explains the wonders of unscripted silent comedy, Federico Fellini reflects on honesty in art, Carol Channing reveals that she is far more serious than she lets on, and Marlon Brando turns the tables and wants to interview Terkel. We learn about crucial artistic decisions in the lives of Arthur Miller, Tennessee Williams, and Edward Albee and hear from a range of film directors, from Vittorio De Sica and King Vidor to Satyajit Ray. We even get to witness Terkel playing straight man to a wildly inventive Zero Mostel. Because Terkel knows his subjects’ work intimately, he asks precisely the right questions to elicit the most revealing responses. As the New York Times Book Review noted, “Terkel’s knowledge and force of personality make him fully a player alongside his famous guests.”

    Set in the German prison camps, the story revolves around two French aviators who were shot down and spent most of their time escaping from German prison camps while they do what they can to amuse themselves between escapes. One of the French officers, Captain de Boieldieu, finds greater commonality with his captor, Captain von Rauffenstein, than with his own fellow countrymen and soon the disparity between the two social classes emerge. Grand Illusion is examines the futile nature of war and the optimism of those forced to wage it and in recalling his own experiences as an aviator in WWI as well as those of his comrades, Jean Renoir's calls for a farewell to the class constrictions of European society and for the unity of humankind across class and national boundaries.

    So skilled was he at capturing the emotions of his screen characters that his audiences invariably felt close to him, as if they knew Jimmy Stewart personally. With a career that spanned six decades, he made more than eighty movies and played many diverse roles, covering almost every movie genre. He was also a member of the United States Air Force during World War II and remained active in the Reserves until 1968, receiving numerous awards for his valor and devotion along the way. This book chronicles the life and career of one of Hollywood's most loved and admired stars.-- Rediscover Jimmy in his many and varied roles on the big screen-- Learn about his personal life from his childhood in indiana, Pennsylvania, to his college days at Princeton University, to his later years as a devoted husband and father-- Read about his enduring friendships with Hollywood stars Henry Fonda and Frank Capra

    Table of ContentsPink Generation: a brief history of japanese pornoPop Avant-Garde Violence: the films of koji wakamatsuSadomania: the joys of tortureAi No Corrida: in the realm of the sensesAbnormal Ward: the secret cinema of hisayasu satoUltraviolence: sex, slaughter, sacrificeGarbage Man: the wild world of takao nakanoPunk Generation: notes on the japanese underground

    Facisilies of the original Russian material are followed by complete English translations. Also included in this book is Ayn Rand's "movie diary," in which she recorded details of her viewing of hundreds of films in Soviet Russia, Europe and the United States during the 1920's.

    It's an uncompromising expose that names names, points fingers, and confesses to sins as it reveals the decisions, mistakes, competition, and crimes that brought the tabloid TV genre from a local show to a national phenomenon -- and the tawdry mix of scandal and sleaze that destroyed it.

    Made by the team Val Lewton and Jaques Tourner, the film is legendary for its eliptical style--its emphasis on the terrors of what's not seen. Part gothic fantasy, part psychosexual drama, it's the dream of metamorphosis.

    This lavishly illustrated volume examines Hitchcock's life and career, featuring in-depth details regarding his more than fifty films and boasting over 300 photos from both his celluloid classics and the legendary filmmaker's life.

    In this work, Robin Askwith relates his long and varied career, from his audition for the first "Confessions" film in the 1970s through some of his 25 other films including Zefferelli's "Brother Sun, Sister Moon" and Pasolini's "Canterbury Tales".

    The third volume of Smith and Kraus publication of the complete works of Pulitzer Prize-winning playwright Lanford Wilson, this book includes:The Hot L Baltimore, Serenading Louise, The Mound Builders, and Angels Fall.

    Minh-haVietnamese filmmaker and feminist thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in independent filmmaking. In her writings and interviews, as well as in her filmscripts, Trinh explores what she describes as the infinite relation of word to image. Cinema-Interval brings together her recent conversations on film and art, life and theory, with Homi Bhabha, Deb Verhoeven, Annamaria Morelli and other critics. Together these interviews offer the richest presentation of this extraordinary artist's ideas.Extensively illustrated in color and black and white, Cinema-Interval covers a wide range of issues, many of them concerning the space between--between viewer and film, image and text, interviewer and interviewee, lover and beloved. As an added bonus, the complete scripts of Trinh's films Surname Viet Given Name Nam and A Tale of Love are also included in the volume.Cinema-Interval will be an essential work for readers interested in contemporary film art, feminist thought, and postcolonial studies.

    He has acted in films and on stage and even directed a music video for Bruce Springsteen. In making movies, Sayles has handled subjects as diverse as seventies activists in The Return of the Secaucus Seven (1980); a 1920s Appalachian miners' strike in Matewan (1987); the 1919 Black Sox scandal in Eight Men Out (1988); the Selkies of Ireland in The Secret of Roan Inish (1994); and Latin American guerilla warfare in Men with Guns (1997). Conducted over a period of twenty years, these interviews span Sayles's career as a writer, director, and sometimes actor. Whether he is interviewed in The Progressive, Film Comment, Sight and Sound, or Rod Serling's The Twilight Zone Magazine, Sayles is always direct and candid. In each conversation, he cuts to the core of the film business and to the meat of what he is trying to accomplish as an artist. Known for his fiercely independent vision, his authentic characters, and his provocative observations on the human condition, Sayles demonstrates in these interviews what an endurably original director and artist he is. As he tells Sight and Sound, "First of all, I'm not afraid of failure. I don't get upset if people don't like it. I'm doing it because I'm interested. . . [Return of the Secaucus Seven] was the start, because even if I hadn't got it released, at least I've made a movie I wanted to make."

    Robinson quotes Oscar Wilde: "It is only shallow people who do not judge by appearances. The true mystery of the world is the visible not the invisible. . ." His assumptions about economic failure, especially in manufacturing industry, are gradually challenged by the discovery of an industrial economy that employs few people but still generates most of the wealth of the fifth-largest economy in the world. Robinson in Space incorporates material from the award-winning film of the same name that was released just before the British 1997 General Election. The book juxtaposes the narrative and over 200 intriguing, strange-yet-familiar images from the film to take the reader on a fascinating journey through the landscapes of present-day England.

    200 photos.

    Coyote, Donald Duck, Tom and Jerry, and many other cartoon favorites. Beginning with black-and-white silent cartoons, Barrier offers an insightful account, taking us inside early New York studios and such Hollywood giants as Disney, Warner Bros., and MGM. Barrier excels at illuminating the creative side of animation--revealing how stories are put together, how animators develop a character, how technical innovations enhance the realism of cartoons. Here too are colorful portraits of the giants of the field, from Walt and Roy Disney and their animators, to Bill Hanna and Joe Barbera. Based on hundreds of interviews with veteran animators, Hollywood Cartoons gives us the definitive inside look at this colorful era and at the creative process behind these marvelous cartoons.

    With Robert DeNiro, one of the most talented young actors from this film, Scorsese went on to make some of the greatest American films of the postwar period, including Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990). A Scorsese film seldom fails to stir controversy, for his devotion to realism has led him to forthrightly depict violence and its frightening randomness in the modern world. His biblical film also created quite a stir. This adaptation of Kazantzakis's The Last Temptation of Christ generated outrage among conservative religious leaders.Scorsese, however, has not limited himself to contemporary, violent urban dramas or new interpretations of biblical subjects. Other widely heralded Scorsese films include Alice Doesn't Live Here Anymore (1974), New York, New York (1977), The Last Waltz (1978), The King of Comedy (1983), After Hours (1985), The Color of Money (1986), Cape Fear (1991), The Age of Innocence (1993), Casino (1995), and Kundun (1998).These interviews begin with conversations about the highly autobiographical Mean Streets (1973), which first brought Scorsese serious attention, and end with conversations about Kundun, an overtly political biography of the Dalai Lama of Tibet, released in early 1998."I look for a thematic idea running through my movies, he says, and I see that it's the outsider struggling for recognition. I realize that all my life I've been an outsider, and above all, being lonely but never realizing it."

    This breathtaking book will thrill anyone interested in Hollywood's rich past and become a treasured cornerstone in the library of every movie buff.

    Jekyll, Mr. Hyde, King Kong, the Wolf Man, or any of the other legendary Hollywood monsters. Some were even monsters themselves, such as Elsa Lanchester as the Bride, and Gloria Holden as Dracula's Daughter. And while evading the Strangler of the Swamp, former Miss America Rosemary La Planche is allowed to rescue her leading man. This book provides details about the lives and careers of 21 of these cinematic leading ladies, femmes fatales, monsters, and misfits, putting into perspective their contributions to the films and folklore of Hollywood terror--and also the sexual harassment, exploitation, and genuine danger they faced on the job. Veteran actress Virginia Christine recalls Universal burying her alive in a backlot swamp in full mummy makeup for the resurrection scene in The Mummy's Curse--and how the studio saved that scene for the last day in case she suffocated. Filled with anecdotes and recollections, many of the entries are based on original interviews, and there are numerous old photographs and movie stills.

    Now, more than twenty years later, the visionary writer-director, his brilliant crew of special-effects wizards, and an exciting cast of talented stars have united to make the long-awaited and eagerly anticipated Episode I of the Star Wars epic.Star Wars: The Making of Episode I is your exclusive entrée backstage where the wonders of the newest chapter in the Star Wars saga are brought to life, including - A series of exclusive interviews with George Lucas as he discusses the genesis of the Star Wars story, from themes to scenes to dialogue- The development of such classic characters as young Jedi student Obi-Wan Kenobi and R2-D2--plus intriguing newcomers Anakin Skywalker, Qui-Gon Jinn, Queen Amidala, and Jar Jar Binks- The creation of new state-of-the-art creatures and special effects by the legendary Industrial Light & Magic team- Pre-production: from storyboarding, set-building, and model-making to costume design and the casting of pivotal roles - Post-production: Including editing, scoring, and combining computer generated effects with live-action footage- Shooting in England, Italy, and Tunisia, with stars Liam Neeson, Ewan McGregor, and Natalie Portman- Hundreds of drawings and photographsWitness all the movie-making magic behind the sensational Star Wars saga's newest episode!

    Seeking to proliferate the findings and insights of queer theory, contributors explore the issue of whether and how queer theory can speak for and include the straight.   In some of the ways that men have learned from feminism to interrogate the construction of masculinity, straights are learning from queer theory to interrogate constructions of straightness, to question their place in those constructions, and to make critical interventions into the institutional reproduction of the heterosexual norm. Straight with a Twist responds to the formulations of some of the leading figures in queer theory, considers demonstrations of the queer in television programs ("Seinfeld," for example) and contemporary films, and explores to what extent and in what ways literary texts from Shakespeare to Dorothy Allison are open to queer interpretation.   Committed to antihomophobic cultural analysis, Straight with a Twist aims to extend the reach of queer theory and humanize the world by making it "queerer than ever."

    Nevertheless, the film reflects Jarman's major concerns: violence; history; homosexuality, and the relation between film and painting. Unlike Jarman's other work it avoids sentimentalizing gay relationships.

    His films include Rebels of the Neon God (1992); Vive l'amour (1994); The River (1997); and his 1998 Cannes golden palme-nominee, The Hole, His films often use water in its multiple capacities -- cleansing, raining, nourishing, flooding -- to sumbolize his character's emotions. Depicting the human body as a mysterious, malleable machine consuming and excreting on its own volition, bodily functions become metaphors for loneliness, desire, decay, and escape. His obsessive and isolated characters give his films a bleak outlook, but they also embody a wry sense of absurdist humor. This is the first book devoted to Ming-liang's work, and is an important addition to contemporary film studies.

    The 200 quizzes in And You Thought You Knew Classic Movies will test your recall of every aspect of Hollywood's Golden Age (1930-70). None of these tests is easy, but their match-'em format makes them as irresistible as crossword puzzles--and the toughest ones will make even lifelong buffs quiver. Are you crazy for "Gun Crazy"? Can't help loving "The Girl Can't Help It"? Or is "Breakfast at Tiffany's" more your cup of tea? Whatever your taste, And You Thought You Knew Classic Movies will send you reeling to the video store in ecstasy.

    One day, a man named Fukuhara comes to collect the loan, which Fumiya cannot pay. So Fukuhara makes a proposition: He will cancel the debt as long as Fumiya agrees to walk with him across Tokyo to the police station of Kasumigaseki, where he intends to turn himself in for a crime he deeply regrets. Not having much choice, Fumiya accepts the deal. Thus begins their journey which will lead them to various unusual encounters, most of all with themselves.

    Back and even better for the new millennium, the Hound is the final "woof" on what to watch and what to toss to the dogs.Wasted trips to the video store? Lost time combing the cable guide? Never again! The Hound's reviews never leave movie aficionados out in the cold about what to spend their leisure time watching. Entertaining reviews tell the whole story and more on the earliest films to those just released on video. There simply is no more complete guide to films on video, laserdisc and DVD.More than 23,000 movies are sniffed out as only the Hound can, with the only "four bone" rating system available for human consumption. Proud owners of this edition will be the envy of all their friends when they have answers to even the most obscure questions on films, casts, writers, directors, composers, cinematographers, awards, foreign films and more. For easiest searching, VideoHound's 10 indexes (covering more than 40,000 actors, directors, screenwriters, composers and more) are expanded for this special turn-of-the-century edition. A separate Web site guide gives movie fans even more to love. But wait, there's more!More than 1,000 films have been added for this edition. The first to cover DVD, the Hound continues its aggressive digging out of the digital movie revolution by covering some 2,000 films released in the new format. And never one to neglect special formats, from letterboxing to closed captioning, VideoHound uncovers every alternative.

    By exploring the interplay between the two forms, Catherine Russell throws new light on both the avant-garde and visual anthropology. Russell provides detailed analyses of more than thirty-five films and videos from the 1890s to the 1990s and discusses a wide range of film and videomakers, including Georges Méliès, Maya Deren, Peter Kubelka, Ray Birdwhistell, Jean Rouch, Su Friedrich, Bill Viola, Kidlat Tahimik, Margaret Mead, Tracey Moffatt, and Chantal Akerman. Arguing that video enables us to see film differently—not as a vanishing culture but as bodies inscripted in technology, Russell maps the slow fade from modernism to postmodern practices. Combining cultural critique with aesthetic analysis, she explores the dynamics of historical interruption, recovery, and reevaluation. As disciplinary boundaries dissolve, Russell contends, ethnography is a means of renewing the avant-gardism of “experimental” film, of mobilizing its play with language and form for historical ends. “Ethnography” likewise becomes an expansive term in which culture is represented from many different and fragmented perspectives. Original in both its choice of subject and its theoretical and methodological approaches, Experimental Ethnography will appeal to visual anthropologists, as well as film scholars interested in experimental and documentary practices.

    Over and over, Bram Stoker's Dracula has been adapted for the screen, with widely varying degrees of accuracy and success. Interpretations have ranged from cadaverous and creepy (Max Schreck in Nosferatu, 1922) to elegant (Lugosi and his imitators) to bizarre (Gary Oldman in Bram Stoker's Dracula, 1992). But has Stoker's vampire ever been portrayed as the author intended? Here, is the updated edition of Lyndon Joslin's acclaimed 1999 guide to the films based on Stoker's novel. Covered in detail for the first time are Drakula Istanbul'da (1953); Dracula (1969); Dracula 2000 (2000); Dracula's Curse (2002); and Dracula: Pages from a Virgin's Diary (2003). Also new to this edition is complete cast and credit information for the Dracula series films from Universal and Hammer as well as for the Shadows of Stoker films - i.e., those that clearly borrow from Stoker without once citing the source. It also features photographs, bibliography, and an index.

    This volume includes freshly-commissioned essays by leading scholars of Arthur Penn's work, as well as contributions from Penn himself and scriptwriter David Newman. They analyze the cultural history, technical brilliance, visual strategies, and violent imagery that marked Bonnie and Clyde as a significant turning point in American film.

    Turner and Michael H. Price as they turn back the curtain of obscurity and peer into Hollywood's Forgotten Horrors.Turner and Price do their best to expose Grim Reapers such as Ghosts, Phantoms, Jungle Manglers and Old-fashioned Murderers as they examine Cinematic Horrors from 1929 through 1937. This is the long awaited update to their ground-breaking original edition.

    

    It was an independently produced, experimental, avant-garde work from Japan whose brilliant use of cinematic technique was equal to if not superior to that of contemporary European cinema. Those studying Japan, focusing on the central involvement of such writers as Yokomitsu Riichi and the Nobel Prize winner Kawabata Yasunari, have seen it as a pillar of the close relationship in the Taishō era between film and artistic modernism, as well as a marker of the uniqueness of prewar Japanese film culture.But is this film really what it seems to be? Using meticulous research on the film’s production, distribution, exhibition, and reception, as well as close analysis of the film’s shooting script and shooting notes recently made available, Aaron Gerow draws a new picture of this complex work, one revealing a film divided between experiment and convention, modernism and melodrama, the image and the word, cinema and literature, conflicts that play out in the story and structure of the film and its context. These different versions of A Page of Madness were developed at the time in varying interpretations of a film fundamentally about differing perceptions and conflicting worlds, and ironically realized in the fact that the film that exists today is not the one originally released. Including a detailed analysis of the film and translations of contemporary reviews and shooting notes for scenes missing from the current print, Gerow’s book offers provocative insight into the fascinating film A Page of Madness was—and still is—and into the struggles over this work that tried to articulate the place of cinema in Japanese society and modernity.

    Abounding with anecdotes, character sketches and insights, Forbidden Fruit offers vivid depictions of exploitation kings and con-men, detailed readings of the films themselves and the unique stretch of American history that inspired them.

    This interactive collection of the official Star Wars movie posters, book covers, TV Guide covers, and never-before-seen illustrations provides a fascinating tour of Drew Struzan's Star Wars work. Included are: a complete visual catalog of Star Wars illustrations, interviews with Drew and a tour of his studio, printable coloring outlines, interview with George Lucas, and a screen saver.

    From the earliest of Georges Melies's films in 1897, to a 1996 animated Hunchback of Notre Dame, film has offered not just fantasy but exploration of these roles so vital to the modern psyche. St. Joan has undergone the transition from peasant girl to self-assured saint, and Camelot has transcended the soundstage to evoke the Kennedys in the White House. Here is the first comprehensive survey of more than 900 cinematic depictions of the European Middle Ages--date of production, country of origin, director, production company, cast, and a synopsis and commentary. A bibliography, index, and over 100 stills complete this remarkable work.

    Bringing together original work from some of the leading writers on British popular film, this book includes interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of films including: * acclaimed recent crime films such as Shallow Grave, Shopping, and Face.* early classics like They Made Me A Fugitive* acknowledged classics such as Brighton Rock and The Long Good Friday* 50s seminal works including The Lavender Hill Mob and The Ladykillers

    Cavani's film The Night Porter (1974) created a sensation in the United States and Europe. But in many ways her critically renowned endeavors--which also include Francesco di Assisi, Galileo, I cannibali, Beyond Good and Evil, The Berlin Affair, and several operas and documentaries--remain enigmatic to audiences. Here Marrone presents Cavani's work as a cinema of ideas, showing how it takes pleasure in the telling of a story and ultimately revolts against all binding ideological and commercial codes.The author explores the rich visual language in which Cavani expresses thought, and the cultural icons that constitute her style and images. This approach affords powerful insights into the intricate interlacing of narrated events. We also come to understand the importance assigned to the gaze in the genesis of desire and the acquisition of knowledge. The films come to life in this book as the classical tragedies Cavani intended, where rebels and madmen experience conflict between historical and spiritual reality, the present and the past. Offering intertextual analyses within such fields as psychology, history, and cultural studies, along with production information gleaned from Cavani's personal archives, Marrone boldly advances our understanding of an intriguing, important body of cinematic work.

    

    This volume presents in-depth interviews with 13 prominent cinematographers, who discuss their careers and the art and craft of feature film cinematography. The interviewees—who represent the spectrum of big-budget Hollywood and low-budget independent filmmaking from the sixties through the nineties—talk about their responsibilities, including lighting, camera movement, equipment, cinematic grammar, lenses, film stocks, interpreting the script, the budget and schedule, and the psychological effect of images. Each interview is preceded by a short biography and a selected filmography, which provide the background for a detailed analysis of the photographic style and technique of many highly acclaimed and seminal films.

    a great book to read

    Routledge is an imprint of Taylor & Francis, an informa company.

    The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry.James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense.Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene--from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics--notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself.The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history--half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.

    Though more unbridled, salacious, subversive, and just plain bizarre than what came afterwards, the films of the period do indeed have the look of Hollywood cinema--but the moral terrain is so off-kilter that they seem imported from a parallel universe.In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded--in sum, pretty much the raw stuff of American culture, unvarnished and unveiled.No other book has yet sought to interpret the films and film-related meanings of the pre-Code era--what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.

    How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world.Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada.The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.

    Award-winning screenwriter Cowgill articulates the concepts of successful screenplay structure in clear language and offers a study of memorable films from the thirties to present day.

    

    Thanks to Roud... a thick and well-kept-up curtain of mystery rises to reveal to us the founder of the Cinmathque Franaise, a man who was both unassuming and extravagant, a fabulous man, an obsessed man, and man animated by an ide fixe, a haunted man." -- Franois Truffaut, from the ForewordWhen Henri Langlois began collecting prints of films in the 1920s, most people -- even many in the film industry -- thought of movies as a cheap and disposable form of entertainment. Langlois recognized them as a priceless form of art and worthy of preservation. In 1935, he founded the Cinmathque Franaise, the legendary film library and screening room in Paris which Jean Renoir described as "the church for movies" and Bernardo Bertolucci called "the best school of cinema in the world." Indeed, some of the world's most influential filmmakers -- including Godard, Resnais, Truffaut, Rivette, and Wenders -- learned their craft by watching the classic films Langlois devoted his life to saving from destruction and obscurity.As Richard Roud reveals in this "affectionate, intriguing biography" (Times Literary Supplement), Langlois was a brilliant and temperamental man who could be, by turns, charming and maddening. Marvelously creative, Langlois was also so incredibly disorganized that, once the Cinmathque became a government institution, he was dismissed as its director in 1968 by then Minister of Culture Andr Malraux, an action which caused Europe's eminent film personalities to protest in the street of Paris until he was reinstated. By the time of his death in 1977, Langlois's genius forrediscovering the cinema of the past (he championed the works of Abel Gance, Carl Dreyer, and Louis Feuillade when they were considered pass by his contemporaries and defended Howard Hawks against the disdain of American intellectuals) and his desire to share his discoveries with the world (at a time when other film archives refused to screen any of the films in their collection) had inspired a great and abiding love of cinema in a generation of filmgoers, leaving behind a legacy director Nicholas Ray considered "perhaps the most important individual effort ever accomplished in the history of the cinema.

    She also takes on the myth that modern Hollywood films are based on a narrative system radically different from the one in use during the Golden Age of the studio system.Drawing on a wide range of films from the 1920s to the 1990s--from Keaton's Our Hospitality to Casablanca to Terminator 2--Thompson explains such staples of narrative as the goal-oriented protagonist, the double plot-line, and dialogue hooks. She domonstrates that the three-act structure, a concept widely used by practitioners and media commentators, fails to explain how Hollywood stories are put together.Thompson then demonstrates in detail how classical narrative techniques work in ten box-office and critical successes made since the New Hollywood began in the 1970s: Tootsie, Back to the Future, The Silence of the Lambs, Groundhog Day, Desperately Seeking Susan, Amadeus, The Hunt for Red October, Parenthood, Alien, and Hannah and Her Sisters. In passing, she suggests reasons for the apparent slump in quality in Hollywood films of the 1990s. The results will be of interest to movie fans, scholars, and film practitioners alike.

    This book presents an exploration of his work.

    Against the backdrops of London and Venice, The Wings of the Dove charts the devastating consequences for its protagonists of the conflict between love and money. The film transforms James's novel into vivid, enthralling cinema, but without sacrificing the novel's psychological sophistication. At the time of the film's release critical appreciation was often limited to very clichéd commentary that showed little familiarity with James's work. Robin Wood by contrast carefully examines the differences between book and film, pointing out the achievements of each. In this eloquent and trenchant study, Wood shows how Softley's film does justice to its source by reinventing it for the cinema.

    Readers can find out what kind of pictures and resumes are most successful, common mistakes actors make in auditions and what directors are looking for.

     Much has been written about Holocaust film and literature, and yet the medium that brings the subject to most people--television--has been largely neglected. Now Shandler provides the first account of how television has familiarized the American people with the Holocaust. He starts with wartime newsreels of liberated concentration camps, showing how they set the moral tone for viewing scenes of genocide, and then moves to television to explain how the Holocaust and the Holocaust survivor have gained stature as moral symbols in American culture. From early teleplays to coverage of the Eichmann trial and the Holocaust miniseries, as well as documentaries, popular series such as All in the Family and Star Trek, and news reports of recent interethnic violence in Bosnia, Shandler offers an enlightening tour of television history. Shandler also examines the many controversies that televised presentations of the Holocaust have sparked, demonstrating how their impact extends well beyond the broadcasts themselves. While America Watches is sure to continue this discussion--and possibly the controversies--among many readers.

    The Western world became aware of this when Akira Kurosawa's Rashomon was awarded the Grand Prize at the Venice film festival in 1951 and the Oscar for best foreign film in 1952. More recent examples include Shohei Imamura's Eel, which won the Palm d'Or (Best Picture) at Cannes in 1997.From Book to Screen breaks new ground by exploring important connections between Japan's modern literary tradition and its national cinema. The first part offers an historical and cultural overview of the working relationship that developed between pure literature and film. It deals with three important periods in which filmmakers relied most heavily on literary works for enriching and developing cinematic art. The second part provides detailed analyses of a dozen literary works and their screen adoptions.

    Today, before our cinema-savvy eyes, people melt and re-form as altogether new creatures: they "morph." This volume explores what digital morphing means -- both as a cultural practice specific to our times and as a link to a much broader history of images of human transformation.Meta-Morphing ranges over topics that include turn-of-the-century "quick-change" artists, Mesoamerican shamanic transformation, and cosmetic surgery; recent works such as Terminator 2, Star Trek: Deep Space Nine, Heavenly Creatures, and Forrest Gump; and the transformations imagined by Kafka, Proust, and Burroughs. The contributors look not only at the technical wizardry behind digital morphing, but also at the history and cultural concerns it expresses.