Tolkien's extraordinary creation Middle-earth, as depicted in the movie The Fellowship of the Ring - the first of three blockbuster films from New Line Cinema. Filled with stunning imagery and with a thorough, informative narrative text, The Fellowship of the Ring Visual Companion will provide the reader with a rich feast of detail and information. Featuring exclusive photos of Frodo, Gandalf, the Ringwraiths, elves, and all the other main characters and creatures of the first film, the book also includes breathtaking pictures of Hobbiton, Rivendell, and Moria. The first of a projected three-book series that no Tolkien fan, from novice to expert, should be without, The Fellowship of the Ring Visual Companion contains a special eight-page gatefold of large-format images unique to this book.

    Having already established himself as an actor, he struck out as a filmmaker in 1959 with Shadows, and proceeded to build a formidable body of work, including such classics as Faces, Woman Under the Influence, The Killing of a Chinese Bookie, and Gloria. In Cassavettes on Cassavettes, Ray Carney presents the great director in his own words--frank, uncompromising, humane, and passionate about life and art.

    Includes detailed scene notes by Paul Oosterhouse, assistant to the Wachowskis throughout the making of the movie.

    But fo

    Decades after their release, his movies remain unsurpassed marvels of comic invention and mechanical timing. In Buster Keaton Remembered, a unique illustrated survey of Keaton's career, Eleanor Keaton, his wife of 26 years, and film historian Jeffrey Vance provide a personal account of this icon of American cinema.Drawing on professional papers, screenplays, studio records, and scrapbooks, the authors trace Keaton's beginnings in vaudeville, where he perfected his gags; his first silent shorts with Roscoe "Fatty" Arbuckle; the brilliant features he conceived, directed, produced, and performed in; and his later sound films for M-G-M and others. Fresh prints of classic film stills and never-before-published photos from the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, together with a lively, anecdotal text, offer a behind-the-scenes look at how Keaton came up with his hilarious ideas, choreographed his elaborate stunts, and crafted his films.

    Its protagonist Leonard (Guy Pearce) is a puzzle, even to himself. He sports the trappings of an expensive lifestyle, yet he lives in seedy motels, and seems to be on a desperate mission of revenge to find the man who murdered his wife. Worse, Leonard suffers from a rare form of amnesia that plagues his short-term memory, so in order to keep track of his life, he must surround himself with written reminders, some of them etched onto his own flesh. In this state, Leonard finds that nothing is what it seems, and no one can easily be trusted.Following (1998) was Christopher Nolan's micro-budgeted debut feature. Bill (Jeremy Theobald), a lonely would-be writer, spends his considerable free time stalking strangers at random through the streets of London. This vicarious form of 'research' takes an unexpected turn when Bill is caught out by one of his quarries: a suave cat burglar who introduces him to the art of breaking and entering. Soon Bill is striking up a liaison with a girl whose flat he has turned over. But Bill discovers too late that he is out of his depth.This volume includes both screenplays, plus an interview with Christopher Nolan and Jeremy Theobald in which they talk to James Mottram about the making of Following, and a piece by Christopher Nolan and his brother Jonathan Nolan, author of the story on which Memento was based, in which they recall the conception of the film.

    In doing so, he adapted such popular novels as The Killing, Lolita, A Clockwork Orange, and The Shining and selected a wide variety of genres for his films -- black comedy (Dr. Strangelove), science fiction (2001: A Space Odyssey), and war (Paths of Glory and Full Metal Jacket). Because he was peerless in unveiling the intimate mysteries of human nature, no new film by Kubrick ever failed to spark debate or to be deeply pondered.Kubrick (1928-1999) has remained as elusive as the subjects of his films. Unlike many other filmmakers he was not inclined to grant interviews, instead preferring to let his movies speak for themselves. By allowing both critics and moviegoers to see the inner workings of this reclusive filmmaker, this first comprehensive collection of his relatively few interviews is invaluable. Ranging from 1959 to 1987 and including Kubrick's conversations with Gene Siskel, Jeremy Bernstein, Gene D. Phillips, and others, this book reveals Kubrick's diverse interests -- nuclear energy and its consequences, space exploration, science fiction, literature, religion, psychoanalysis, the effects of violence, and even chess -- and discloses how each affects his films. He enthusiastically speaks of how advances in camera and sound technology made his films more effective.Kubrick details his hands-on approach to filmmaking as he discusses why he supervises nearly every aspect of production. "All the hand-held camerawork is mine," he says in a 1972 interview about A Clockwork Orange. "In addition to the fun of doing the shooting myself, I find it virtually impossible to explain what I want in a hand-held shot to even the most talented and sensitive camera operator. "Neither guarded nor evasive, the Kubrick who emerges from these interviews is candid, opinionated, confident, and articulate. His incredible memory and his gift for organization come to light as he quotes verbatim sections of reviews, books, and articles. Despite his reputation as a recluse, the Kubrick of these interviews is approachable, witty, full of anecdotes, and eager to share a fascinating story.

    Joseph McBride’s Searching for John Ford surpasses all previous biographies of the filmmaker in its depth, originality, and insight. Encompassing and illuminating Ford’s myriad complexities and contradictions, McBride traces the trajectory of Ford’s life from his beginnings as “Bull” Feeney, the nearsighted, football-playing son of Irish immigrants in Portland, Maine, to his recognition, after a long, controversial, and much-honored career, as America’s national mythmaker. Blending lively and penetrating analyses of Ford’s films with an impeccably documented narrative of the historical and psychological contexts in which those films were created, McBride has at long last given John Ford the biography his stature demands.

    

    Allison; Cape Fear; The Longest Day; Farewell, My Lovely; and The Winds of War. Mitchum's powerful presence and simmering violence combined with hard-boiled humor and existential detachment to create a new style in movie acting: the screen's first hipster antihero-before Brando, James Dean, Elvis, or Eastwood-the inventor of big-screen cool.Robert Mitchum: "Baby, I Don't Care" is the first complete biography of Mitchum, and a book as big, colorful, and controversial as the star himself. Exhaustively researched, it makes use of thousands of rare documents from around the world and nearly two hundred in-depth interviews with Mitchum's family, friends, and associates (many going on record for the first time ever) ranging over his seventy-nine years of hard living. Written with great style, and vividly detailed, this is an intimate, comprehensive portrait of an amazing life, comic, tragic, daring, and outrageous.

    He entered college just as World War II began and dreamed of being a naval aviator. It seemed as if every night his fraternity was having a party to send off a brother to the service. Young Arness got his interview with a naval flight program officer, but his hopes vanished as he was informed that his six foot seven inch height disqualified him automatically. He wrote his draft board asking that they call him up as soon as possible and so he ended up as a private in the famed Third Infantry Division where he earned a Bronze Star and the Purple Heart. Because of his stature, he was chosen to be first off the landing craft (to test the depth of the water) when his division landed at Anzio, Italy. He was subsequently wounded by enemy machine gun fire and spent eighteen months recovering in overseas and stateside hospitals. Later his height would help him strike a commanding figure in the role of U.S. Marshal Matt Dillon of Dodge City. After Arness had toiled in Hollywood for a decade, John Wayne recommended him to CBS executives for the Gunsmoke part (after Wayne turned it down). As the principal performer of Gunsmoke for twenty years (1955-1975), the actor and the character took on mythic proportions--a born leader, honest and strong. Rare is the actor who has been cast in a role that so deeply fits his true self. James Arness gives a full account of his early years, his family, his military career, his film work in Hollywood which included appearances in the cult-favorite science fiction movies Them! and The Thing. He had a long run on Gunsmoke, a role in the highly popular television miniseries How The West Was Won, and his post-theatrical period is also covered. This is the long anticipated, never-before-told account of one of the icons of twentieth-century television. There are many personal revelations of interacting with some of the Gunsmoke family ensemble, such as Miss Kitty, Doc and Festus. His own work as a producer is covered. Throughout are rare, previously unpublished photographs from the author's personal collection. Appendices include comments by show biz colleagues and fellow Gunsmoke alumni, and a sampling of letters received from his legions of fans. As befits the man, this large-size book is a beautifully printed work in accord with the highest library standards--a luxurious and extra-strong cloth binding, acid-free paper, carefully designed photographic and textual layouts and sophisticated typography. Actor and fellow Gunsmoke performer Burt Reynolds has written a foreword to the book.

    This book provides an insightful look at one of the century's most beloved glamour girls, chronicling her life in more than 300 photographs, many of which have never been seen or have not been published in more than 50 years. The photos run the gamut from publicity shots, film stills, rehearsal photos, candids, news photographs, and, of course, that famous WWII pin-up. The photographs span Rita Hayworth's life her rise from starlet to star, her marriages to such famous men as Orson Welles, Prince Aly Khan, and Dick Haymes, and ending with her death from Alzheimer's disease.

    Sinister and sexy, it forged a new icon: the tough, independent, take-no-guff dame. Determined, desirable, dangerous when cornered, she could handle trouble -- or deal out some of her own.If you thought these women were something special onscreen, wait till you meet the genuine articles. In "Dark City Dames, acclaimed film historian Eddie Muller profiles six women who made a lasting impression in this cinematic terrain -- from veteran "bad girls" Audrey Totter, Marie Windsor, and Jane Greer to unexpected genre fixtures Evelyn Keyes, Coleen Gray, and Ann Savage. The book surveys the lives of these formidable women during the height of their careers circa 1950, as they balanced love and career, struggled against typecasting, and sought fulfillment in a ruthless business. Their personal stories -- teeming with larger-than-life characters like Howard Hughes, L.B. Mayer, Robert Mitchum, Otto Preminger, and John Huston -- offer an illuminating counterpoint to their movies, such as "Out of the Past, Detour, The Lady in the Lake, and "The Killing. Then "Dark City Dames revisits each one of these women today, fifty years on, to witness their hard-won -- and triumphant -- survival. On every page their own voices ring through, reflecting on their lives with as much passion, pain, intelligence, energy, and humor as any movie script."Dark City Dames re-creates the excitement and glamour of a group of gifted performers who lived out their youthful fantasies -- and, along the way, remade the image of the American woman.

    She kept her good-luck black rag doll (it appeared with her in The Blue Angel and followed her to dressing tables on every movie set). She kept the letters (every last one) she received from her lovers and her husband of fifty-three years. She kept every article of clothing made for her by the great French couturiers and the legendary Hollywood costume designers. She kept everything. And she believed in storage. Six storage companies, from New York to California, London, and Paris, held pieces of Miss Dietrich’s life, locked away for decades like the pieces of the life of Charles Foster Kane. Over the years, hundreds of thousands of dollars were paid in rental fees. After Dietrich’s death, the articles were gathered together—twenty-five thousand objects and eighteen thousand images. Some were auctioned at Sotheby’s in Los Angeles. The major pieces of Dietrich’s vast collection were assembled in an archive and given to the FilmMuseum Berlin.Now, her treasures are brought together in 289 photographs from her own collection, with extended captions by her daughter, Maria Riva.We see Dietrich as a child, in velvet dress and golden ringlets...Dietrich as a young actress in Berlin...as the newly married Mrs. Rudolf Sieber, standing proudly with her husband. We see love letters and letters marking the ends of affairs. We see Dietrich in Hollywood...with Chaplin...with Fritz Lang...at the Paramount commissary...Dietrich captured in snapshots by her movie-creator, Josef von Sternberg...Dietrich as a mother.We see her at war...in never-before-published photographs of a USO tour...in uniform (tailor-made for her, of course) disembarking from a transport plane...Dietrich with the 82nd Airborne...Dietrich rolling into Germany in a U.S. tank.Here she is with her directors and fellow actors: Katharine Hepburn, Claudette Colbert, Judy Garland, John Wayne, Ernst Lubitsch, Clark Gable, Cary Grant, Tyrone Power. Here are portraits of her by Cecil Beaton, Horst P. Horst, Milton Greene, John Engstead. And here is Marlene, shimmering, in Las Vegas, the consummate performer, and at the Palladium in London, triumphant!

    Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

    Believing that costume can mirror a character's mood, he transformed his leading ladies into icons of style. Greta Garbo, Joan Crawford, Jean Harlow and many others relied on Adrian to help them interpret their roles and make them glamorous.

    An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices. The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.

    Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.

    DVD is the ultimate home entertainment format, but it's a minefield for the serious collector. If fans want to know whether they should buy a particular film, this 640 page book will become their first point of reference.

    Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology.Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen.* Unique, focused approach to film directing that shows how to use the screenplay as a blueprint for rendering the script to the screen* Features new sections on “Organizing Action in an Action Scene”, and “Organizing Action in a Narrative Scene”, to complement the first two edition’s emphasis on Dramatic Scenes* Written by an author with 25+ years experience teaching directing and who has worked extensively in the film industry as a director, cameraman, editor, and producer in both documentary and dramatic/narrative films

    Much has been written about how gays have been portrayed in the movies but no book -- until now -- has looked at their influence behind the screen. Whether out of or in the closet, gays and lesbians have from the very beginning played a significant role in shaping Hollywood. Gay actors were among the earliest matinee idols and gay directors have long been among the most popular and commercially successful filmmakers. In fact, gay set and costume designers created the very look of Hollywood.With this landmark book, Mann fills a void in the Hollywood history archives. Written in the tradition of Neal Gabler's An Empire of Their Own: How the Jews Invented Hollywood and based on hundreds of hours of interviews with survivors of this golden age, Behind the Screen is destined to become a classic of film literature.

    From the opening them to Hitchcock's signature "Good evening..." viewers tuned in each week to watch the master at work chilling television audiences, both young and old alike. Hitchcock's involvement with the show was minimal. He hosted over 360 episodes but he did not even direct 20. Under the arrangement of Universal Studios, you now hold in your hands a complete guide to the television series. This book offers a "behind-the-scenes" look at the making of the episodes, and a complete production history. Various chapters cover the 1980s remake series, the paperback anthologies, collectibles and over 100 photos. Hitchcock spoofs, comic books and other television programs directed by Alfred Hitchcock. Exclusive interviews with Norman Lloyd, Ray Bradbury, Fess Parker, Henry Slesar, Gordon Hessler, Hazel Court, Vincent Price, Elliott Reid, Marc Richman, Warren Stevens, Hilton A. Green, Arthur Ross, Joseph Pevney, Ann Robinson, Sydney Pollack, Marian Seldes, Ann Robinson, Julie Adams and many more!

    Gathered from the archives of Eon Productions and published to coincide with the 40th anniversary of Bond movies and the release of the newest James Bond movie, James Bond Movie Posters depicts in hot type and bold color four decades of our favorite spy in action. Film-goers first encountered the trademark gun barrel logo on the poster for Dr. No, produced in 1962 to promote the first official Bond movie. Then followed the famous image of Bond with a gun across his chest on the poster for From Russia with Love, Goldfingers startling golden girl, and the inimitable Pussy Galore. These images have become some of the most memorable visual teasers in cinematic history and are now one of the hottest items of memorabilia among both Bond aficionados and movie collectors. This collection features over 200 original posters, including posters that were never released, limited edition festival posters, and rare advance posters. They are all meticulously reproduced in this oversized, full-color paperback. "James Bond is back in action! Everything he touches turns to excitement!"

    "The Satanic Screen" documents all of Satan's cinematic incarnations, covering not only the horror genre but also a whole range of sub-genres including hardcore porn, mondo and underground film. Heavily illustrated with rare still photographs, posters and arcana, the book also investigates the perennial symbiotic interplay between Satanic cinema and leading occultists (for example, Aleister Crowley), making it essential reading for anyone interested in the Black Arts and their continuing representation in populist culture.Nikolas Schreck is the editor of "The Manson File" (1988), and director of the film "Charles Manson Superstar" (1989). He is a world-respected authority on occultism and true crime.

    Now, for the first time, Peake’s fantastic work of imagination has been brought to life in a dazzling production for the BBC. Written by Estelle Daniel, whose creative force as producer has contributed to the realization of Gormenghast as an unprecedented event in television, this illustrated companion sheds light on every facet of the Gormenghast story. From the strange genius of Peake, whose deeply affecting experiences in feudal China and World War II gave birth to the Gormenghast legend, to the reality of the production, The Art of Gormenghast is a stunning guide to this landmark series.

    How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express.Comparing these films to Hollywood films, Naficy calls them accented. Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies.

    This comprehensive work is an exhilarating journey into the heart of the world's entertainment capital and offers an unprecedented look at American film, the preeminent art form of modern times.

    This biography charts Tati's rise and fall, from his earliest beginnings as a music hall mime during the Depression, to the success of Jour de Fête and Mon Oncle, to Playtime, the grandiose masterpiece that left the once celebrated director bankrupt and begging for equipment to complete his final films. Analysing Tati's singular vision, Bellos reveals the intricate staging of his most famous gags and draws upon hitherto inaccessible archives to produce a unique assessment of his work and its context for film lovers and film students alike.

    Movie Awards by "Hollywood Scorekeeper" Tom O'Neil is your inside scoop on the year-by-year dramas and surprises at those top races: The Oscar Awards € The Golden Globe Awards € New York Film Critics Circle € Los Angeles Film Critics € National Society of Film Critics € Broadcast Film Critics € Screen Actors Guild € Directors Guild of America € Writers Guild of America € Producers Guild of America € Independent Spirit € Sundance Film Festival € National Board of Review

    this is a process that cannot accept my interference. it must have a natural opening and fading." Deeply rooted in the soil and culture of his native Greece, in its history, and in its contemporary political upheavals, Theo Angelopoulos (b. 1935) has chosen to make all his films, without exception, at home. Like Ingmar Bergman before him, he proved once again that the truer a film artist is to himself and his background, the more relevant he is to the rest of the world. During the past thirty years as he has developed his own very personal thematic language, he has become one of the most distinctively original filmmakers in the world today. This collection of interviews follows his career from his innovative debut with Reconstruction in 1971 to his triumph at the Cannes Film Festival in 1998, when his film Eternity and a Day was awarded the Golden Palm. As he discusses the personal, historical, political, and artistic framework that gave birth to each of his films, Angelopoulos tracks his gradual evolution away from outright anger. His early film The Travelling Players shows him as a fiery militant on the political barricades fighting for a better world and inventing elliptical metaphors to evade threats of censorship. As he grows older, he becomes more introspective in such films as Voyage to Cythera and Landscape in the Mist. In these later films he is much closer to his individual characters and allows history and politics to recede to the background. His interviews disclose an approach that is ever more existential and, with Ulysses' Gaze, ever more concerned with the politics of borders, exile, and the quest for a moral and ethical core to replace the failed ideals of the twentieth century. Angelopoulos claims that, like his famous countryman Nikos Kazantzakis, he no longer believes in anything and no longer expects anything. "Therefore," he says, "I am a free man." Yet he adds that he cares very much for poetry and human love. These conversations with him afford a glimpse into the heart and soul of a remarkably unique artist who has produced some of the most unforgettable moments of beauty and inspiration in contemporary cinema. Dan Fainaru is the film critic for Kol Israel national broadcasting. He is the feature film consultant for Israel's "1st Channel." Throughout the 1990s he was vice-president for the International Federation of Film Critics.

    His ability was to channel personality and character into simple line but, in addition to his monochromatic line drawings, this book includes his movie posters which, with their brilliant colour palettte, offer an interesting contrast to his more familiar work.

    The first is a real city, an urban agglomeration of millions. The second is a mythic city, so rich in memory and association and sense of place that to people everywhere it has come to seem real: the New York of films such as 42nd Street, Rear Window, Annie Hall, Taxi Driver and Do the Right Thing. This text examines how the real and mythic cities reflected, changed and taught each other.

    Combining art deco style with pulp fiction sensationalism, the more than 150 movie posters in Cine Mexicano are culled from the Agrasnchez Film Archive--the largest print collection of its kind. With a bilingual introduction that surveys the history of Mexican cinema, Cine Mexicano is an unforgettable exploration of gorgeous graphic art and exotic cinema at its finest.

    Herrmann's collaboration with Hitchcock spanned eleven years and nine films, and Herrmann's film score for "Vertigo" is widely regarded as being one of his finest. Cooper considers the development of Herrmann's career up to 1958, providing a detailed discussion of his musical style. The explicit information about the structure of Herrmann's music is based on a study of Herrmann's autograph score.Cooper examines not only the context of the film's production, but also its reception and critical readings of the film. In addition, this study explores how the effects track co-operates with Herrmann's non-diegetic and diegetic score and concludes with a detailed musicological study. The author advances a new theory, in his discussion of signification, about the establishment of meaning in film music through association with images on the screen. This sophisticated musicological approach will appeal to film music and film communication scholars.

    A study of the 12 motion pictures and five books (and some secondary films) that make up the eight decades of adventures of master criminal Mabuse, created by author Norbert Jacques in the best-selling 1922 German novel and brought to the screen by master filmmaker Fritz Lang in the same year. Both on screen and off, the story of Dr. Mabuse is a story of love triangles and revenge, of murder, suicides, and suspicious deaths, of betrayals and paranoia, of fascism and tyranny, deceptions and conspiracies, mistaken identities, and transformation. This work, featuring much information never before published in English, provides an understanding of a modern mythology whose influence has pervaded popular culture even while the name Mabuse remains relatively unknown in the United States.

    The Jungle Captive and Weird Woman fall into the latter category." House of Wax co-star Paul Picerni was fired by the films director when he refused to put his head in a working guillotine during a climactic fight scene. Packed with wonderful tidbits, this volume collects 22 interviews with the moviemakers responsible for bringing such films as This Island Earth, The Haunting, Carnival of Souls, Pit and the Pendulum, House of Wax, Tarzan the Ape Man, The Black Cat, Them! and Invasion of the Body Snatchers to the movie screen. Faith Domergue, Michael Forest, Anne Helm, Candace Hilligoss, Suzanna Leigh, Norman Lloyd, Maureen OSullivan, Shirley Ulmer, Dana Wynter and many more are interviewed.

    Ever since the Lumiere brothers' first moving pictures were greeted by astonished gasps in 1895, the movies have exerted an extraordinary and wide-reaching influence over us. The history of the cinema is a record of our rapidly changing world and the lively newspaper-style approach of cinema Year by Year brings unprecedented immediacy to this irresistible story. Ready-reference pages list the key events and Oscar winners for each year, and over 3,000 illustrations bring new life to the stars and scenes of over a century of film history. This unique reference work is the most entertaining and detailed illustrated history of cinema ever published. The revolutionary medium of film has reflected and shaped our culture for over a century. In this absorbing, fully up-to-date 2001 edition, Cinema Year by Year takes you on an exhilarating voyage through the world of movies, from their birth in the 1890s to the technical ingenuity of the present day. Crammed with stunning movie stills, studio portraits, "behind-the-screens" photographs, and classic posters. Over 970 authoritative pages are packed with key movie events and facts and figures, while the easy-to-use, ready-reference pages pinpoint the movie highlights of each year. Includes an in-depth look at the complex, demanding, and fascinating work of the movie-makers and the stars. Special features examine different aspects of film history, including The Silent Era, The New Wave, Special Effects, and The Rise of the Independent Film.

    This book's 140 A-Z entries include synopses, film stills, and production photos.

    This collection of essays from scholars in various disciplines explores various postmodern and poststructuralist aspects of Greenaway's films, starting with The Falls and his early shorts, and ending with The Pillow Book. Other artistic productions, including his paintings and the installation The Stairs are discussed as well. The introductory chapter establishes the theoretical framework for the book, while subsequent chapters examine the filmmaker's position within British and avant-garde cinema, and his interest in constructing and deconstructing representational systems. Includes two texts by Greenway and two interviews

    Included is the original shooting script. With over thirty pages of material not used in the final film, along with a sixteen-page color section featuring rare artwork, production drawings, photographs of the cast and crew, and detailed annotations by the screenwriters.

    The book features interviews with his family and Hollywood greats as well as never-before-published family photographs.

    His Count Dracula remains unrivaled and his performances in classics like The Mummy, The Face of Fu Manchu, and The Wicker Man are just as striking. But Lee's film and television credits outnumber those of many other stars, and stretch well beyond the confines of Hammer Horror. Jonathan Rigby, author of American Gothic and English Gothic, chronicles Lee's entire career, including his starring role as James Bond's nemesis in The Man With the Golden Gun and his recent appearances in The Lord of the Rings and Star Wars trilogies. Compiled with the cooperation of Christopher Lee, and featuring a foreword by Star Wars creator George Lucas enthusiastically commemorating Lee as "breathing life into every character he plays," this is the definitive guide to one of cinema's last true legends.

    At once a sharp social satire and a reflection on the interlocking of reality and fantasy, memory and dream, Belle de Jour stars Catherine Deneuve as Severine, a respectable doctor's wife who has a secret afternoon life as a prostitute. Dressed by Yves Saint-Laurent, Deneuve personifies a European class that is beautiful and enduring, in spite of its aura of decadence. But she's also a woman at war with her past and her desires, trying to clear her mind - if she can - of its ghosts. In this study Michael Wood sets out to unravel some of the enigmas and paradoxes of one of Bunuel's most intricate films. What in Belle de Jour is meant to be taken at face value, and what is fabrication, riddle or satire? In playing the guessing-game of Belle de Jour, Wood proposes an analysis of late Bunuel. Neither a serene old man nor an unreconstructed Surrealist, the Bunuel of Belle de Jour is, for Wood, a film-maker whose insights are all the more devastating for being so lightly and stylishly delivered.

    A thorough history, it features the shooting locations with detailed maps; a comprehensive cast and crew profile, including background information about the electric partnership of Maureen O'Hara and John Wayne; hundreds of professional and amateur photographs; an in-depth analysis of the screenplay; video timings of all the scenes; and the inside story and discussion of the phenomenon of this classic movie.

    Winner of five Oscars, and composer of the James Bond films, "Born Free," "Midnight Cowboy," "Out of Africa," and "Dances with Wolves," he has become a cultural icon and an inspiration to countless musicians. Throughout the 1960s Barry was at the heart of swinging London, and his career reflects the evolution of post-war British music from big band to rock and roll and the birth of pop, and his beginnings in the film world coincided with the renaissance of British cinema. Written with the cooperation of John Barry, and including insights from friends, John Barry: A Sixties Theme is a re-creation of a period when London was the international focus for music and film.

    Includes biographies of key cast and crew and describes the cultural context in which the movie was made. Examines the production, key scenes, themes and techniques used in making the movie. Go behind the scenes with the ultimate film guides and get the bigger picture. Discover how Martin Scorsese's gangster movie draws on a repertoire of cinematic elements to create a movie that has widely been accepted as a classic and established Scorsese as a film artist. Find out how Scorsese has created a style which resurfaces throughout his career and how this was influenced by a biographical element. Consider the importance of film style and key scenes, and learn how the film engages the audience by the use of narrative. Understand what role lighting, camera shots and music had on building the scene and the subsequent emotions. Read about the decisions behind casting Ray Liotta in the role of Henry and what Robert De Niro and Joe Pesci brought to the film. Includes short biographies of Robert De Niro, Ray Liotta, Joe Pesci, Paul Sorvino, Lorraine Bracco, and the director Martin Scorese, Dr. Colley included information about the production, the critical response and a bibliography of books having to do with the movie. Written in an accessible style, Goodfellas is excellent reading for the movie fan and film student alike.Dr. Iain Colley is a freelance writer

    And yet, the continuity and consistency of his work in both photography and film has been barely explored. "Hold still-keep going" fills this obvious void by illustrating and analyzing the underlying aesthetics that have guided Frank's work in both media. From the very outset of his career, Frank distrusted the single photographic image and its claim to freeze moments of truth: time and again he gravitated to the moving image and serial photography, be it in book form or as a panel of photographs. Reproducing more than 100 collages, film stills and serial works, this volume will certainly become a new standard publication on Robert Frank, innovative photographer and experimental filmmaker. The book also contains an illustrated bibliography and biography featuring dozens of previously unpublished images of Robert Frank, his family and his friends. Published in conjunction with a major traveling exhibition, this is an essential addition to all photography and film collections."--BOOK JACKET.

    The first volume of this major biography breaks new ground.The greatest scholar-athlete-performing artist in U.S. history, Paul Robeson was one of the most compelling figures of the twentieth century.Now his son, Paul Robeson Jr., traces the dramatic arc of his rise to fame, painting a definitive picture of Paul Robeson's formative years. His father was an escaped slave; his mother, a descendent of freedmen; and his wife, the brilliant and ambitious Eslanda Cardozo Goode. With a law degree from Columbia University; a professional football career; title roles in Eugene O'Neill's plays and in Shakespeare's Othello; and a concert career in America and Europe, Robeson dominated his era.This unprecedented biography reveals the depth of Robeson's cultural scholarship, explores the contradictions he bridged in his personal and political life, and describes his emergence as a symbol of the anticolonial and antifascist struggles. Filled with previously unpublished photographs and source materials from the private diaries and letters of Paul and Eslanda Robeson, this is the epic story of a forerunner who now stands as one of America's greatest heroes.

    It also is the radio series of 1949-1957 and the television series of 1951-1959, which became television's best-known, longest-running, and most-acclaimed police drama. Because he was so devoted to the show, Hayde's narrative also looks at Jack Webb, but this is not strictly a biography of the show's actor, director, and producer, except to the extent that the one defined the other.Here the narrative follows the ebb and flow of the Dragnet show from radio to television, detailing every awkward moment and production feature that refined the drama throughout the 1950s. From the beginning Webb had an idea of what the show should be, but it was an evolving idea, a refinement that My Name's Friday chronicles as the show matured from radio to television. Webb emphasized realism, basing scripts on cases from the Los Angeles Police Department and enlisting law enforcement professionals to advise on the show.Hayde goes beyond "just the facts" to offer readers a comprehensive look at the show that defined an entire genre. Harry Morgan, an actor who worked with Webb off and on for almost twenty years, offers a foreword and a tribute to the man audiences knew best as Joe Friday. Also included are program guides of the radio and television episodes, a collection of Friday's most well-known speeches, and a glossary of police terms used in the series.

    But thanks to Roger Ebert's Movie Yearbook 2000, everyone can learn what this respected writer and critic thinks about movies, actors, and the world of' film.Ebert's 2001 version of the movie-lover's bible is guaranteed to please both those who've come to rely on his reviews and those just discovering him as not only a respected critic but a gifted (and sometimes hilarious) writer. The book presents every single review he wrote between January 1998 and mid-June 2000 -- about 650 in all. Also included are all interviews and essays for the year, his biweekly Questions for the Movie Answer Man columns, and his film-festival coverage. The addition of so much annual material means the book is about 60 percent new every year. Four stars all the way!

    Arthur Marxs GROUCHO offers never before seen images of his legendary family and the Hollywood scene of the th cent

    Not to be outdone, Hollywood has gone back to making epic films. You know, the kind with lots of people, lots of costumes, lots of action, little dialogue -- from the patronizing Patriot (yeah, but the cannonballs were cool) to the Academy Award-hoarding, gory-glorifying Gladiator. And those filmmaking marvels produced epic disappointments as well -- like that big farce Little Nicky, or Driven, proving old stars have no business behind the wheel, especially when heading 3,000 Miles to Graceland. VideoHound 2002 has reviews of those films and almost 24,000 more -- including cool art-house films that make the girls gaga (like But I'm a Cheerleader) and keep the boys confused (like Memento). Whatever your taste, you're sure to find the movie that caters to it within these pages. But what makes the Hound a true epic movie guide are the extras. Like indexes. Ten of them. Indexes that turn the Six Degrees of Kevin Bacon into two or three. Amaze your friends. Mystify your neighbors. We've even put the Nominations back in the Awards index. Just for you. Because we care. So Snatch this Hound up, avoid the Traffic at your local video store and rent the movies the less-versed consumers Cast Away.

    This book offers an insight into Eisenstein's grand project. Tsivian reconstructs the director's "mental film" that underlies the finished work.

    What is literary noir? How do British and American noir thrillers relate to their historical contexts? Lee Horsley's updated study of the genre, now available in paperback, ranges over hundreds of novels from the hard-boiled fiction of Hammett, Chandler and Cain to the game-players, voyeurs and consumers of contemporary thrillers and future noir.

    J. Hoberman's monograph details the creative making--and legal unmaking--of this extraordinary film, a source of inspiration for artists as disparate as Andy Warhol, Federico Fellini and John Waters. Described by its maker as -a comedy set in a haunted music studio, - the story of Flaming Creatures is here augmented with a dossier of personal recollections, relevant documents and remarkable, previously unpublished on-set photographs by Norman Solomon. Expanding on notes originally prepared for the 1997 retrospective on Jack Smith at the American Museum of the Moving Image, the monograph includes further material on his unfinished features Normal Love and No President, as well as shorter film fragments.

    It is also the first book in this language to offer an in-depth analysis of his music. Toru Takemitsu’s works are increasingly popular with Western audiences and Peter Burt attempts for the first time to shed light on the hitherto rather secretive world of his working methods, as well as place him in context as heir to the rich tradition of Japanese composition in the twentieth century.

    Providing an extensive analysis of Rear Window, John Fawell dismantles many myths and cliches about Hitchcock, particularly in regard to his attitude toward women.

    N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of the foremost film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated.To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control.Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book.

    From her early years in the photographic 'soap operas' of illustrated magazines to her Oscar for best actress, and beyond: the story of an extraordinary actress, a star who is unmatched.

    His early films, such as Dr. Mabuse, Metropolis, and his first talkie, M, have become classics, and positioned him as a leading light in the German film industry in the early 1930s. Fleeing from the Nazis in 1933, Lang went to Hollywood, where he earned legendary status for such films as Man Hunt, The Big Heat, and While the City Sleeps, movies that did much to define the look of film noir. His influence on such filmmakers as Alfred Hitchcock, Michael Powell, and others is unmistakable. This major retrospective book is copiously illustrated with film stills and photographs from his films as well as from his private life. It includes detailed information about his life and work in both Berlin and Hollywood, and will be the most extensive consideration of his oeuvre to date.

    The four films Hitchcock made with Hayes over the next several years - Rear Window, To Catch a Thief, The Trouble with Harry and The Man who Knew Too Much - represented an extraordinary change of style. Each was distinguished by a combination of glamorous stars, sophisticated dialogue and inventive plots, and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts.

    Lincoln), the best war film (They Were Expendable), a masterly romance (The Quiet Man), a sublime film of childhood (How Green Was My Valley), classic adaptations from fiction (The Grapes of Wrath, The Long Voyage Home), and the American Western, on which he left his indelible signature (Stagecoach, My Darling Clementine, Fort Apache, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valance, and The Searchers).Although his was a brilliant career, Ford was not a self-promoter. He refused to discuss his film art. In fact, with interviewers he proved to be gruff and impatient. With those who asked him intellectual questions he was downright cantankerous. His sarcasm, impatience, and occasional mean-spiritedness were quick to surface during interviews. The legend is that he was the interviewee from hell.Yet there were times when he let the walls down and spoke openly and even generously. This book includes at least a dozen such lucid encounters with him, many reprinted for the first time. Also for the first time, several French interviews have been translated into English and show how with French critics Ford enjoyed making conversation. Included too are interviews newly discovered and not listed previously in any bibliography, as well as his poignant and revelatory interviews granted when he knew he was dying.Gerald Peary, a professor of communication and journalism at Suffolk University in Boston, is a film critic for the Boston Phoenix and editor of Quentin Tarantino: Interviews (University Press of Mississippi).

    This book analyzes the film text from nearly every possible viewpoint, using both academic and popular film theories. Also supplied is an extensive intellectual history of the predecessor works to White Zombie, as well as information on the significance it carried for subsequent books and films, its theatrical release around the country, its modern cultural influence, and the attempts to restore the film to its original state. Other noteworthy features of this work include an in-depth biography of White Zombie director Victor Halperin, the first complete study of his life and career, and 244 images and photographs.

    He made over 30 films, working in France, Republican Spain, the United States (at the Museum of Modern Art, New York, and in Hollywood), and Mexico, where he died in 1983. Bunuel's films are both subtle and shocking, as deceptively simple as they are rich in incident and striking in the power of their imagery. Inflected by Surrealism, informed by realism, and mediated by the logic of dreams, Bunuel's cinema is astonishingly singular.This book, originally published in Spanish and French, is now presented in a bilingual Spanish/English edition. Illustrations include documentary photographs as well as over 350 film stills, many in color, from works ranging from his first, shocking Surrealist collaboration with Salvador Dali, Un Chien Andalou (1929), to Belle de Jour (1966), The Discrete Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977). Including the most thorough chronology, filmography, and bibliography available, this is the ultimate book on Bunuel.

    His brilliantly precise paintings of the glittering Art Deco fantasy palaces that once lent magic to main streets across the nation recall the thrill of going to the movies in the days before malls and multiplexes. Sadly, many of the theatres no longer exist, but the spirit of them all remains alive in this evocative and nostalgic book.

    Cavell is the only major philosopher in the Anglo-American tradition who has made film a central concern of his work, and his work offers inspiration and new directions to the field of film studies. The essays and other writings in this volume, presented in the order of their composition, range from major theoretical statements and extended critical studies of individual films or filmmakers to occasional pieces, all of which illuminate Cavell's practice of philosophy as it has developed in the more than three decades since the publication of The World Viewed. All periods of Cavell's career are represented, from the 1970s to the present, and the book includes many previously unpublished essays written since the early 1990s. In his introduction, William Rothman provides a useful and eloquent overview of Cavell's work on film and his aims as a philosopher more generally.

    While much of the existing scholarship on blacks and the cinema focuses on image studies and stereotypical representations, this work excavates a wealth of early critical writing on the cinema by black cultural critics, academics, journalists, poets, writers, and film fans. Culling black newspapers, magazines, scholarly and political journals, and monographs, Everett has produced an unparalleled investigation of black critical writing on the early cinema during the era of racial segregation in America. Correcting the notion that black critical interest in the cinema began and ended with the well-documented press campaign against D. W. Griffith’s Birth of a Nation, she discovers that as early as 1909 black newspapers produced celebratory discourses about the cinema as a much-needed corrective to the predominance of theatrical blackface minstrelsy. She shows how, even before the Birth of a Nation controversy, the black press succeeded in drawing attention to both the callous commercial exploitation of lynching footage and the varied work of black film entrepreneurs. The book also reveals a feast of film commentaries that were produced during the “roaring twenties” and the jazz age by such writers as W.E.B. DuBois, Langston Hughes, and Zora Neale Hurston, as well as additional pieces that were written throughout the Depression and the pre– and post–war periods. Situating this wide-ranging and ideologically complex material in its myriad social, political, economic, and cultural contexts, Everett aims to resuscitate a historical tradition for contemporary black film literature and criticism. Returning the Gaze will appeal to scholars and students of film, black and ethnic studies, American studies, cultural studies, literature, and journalism.

    The director of such landmark films as This Sporting Life, If… and O Lucky Man!, Anderson was also a highly acclaimed stage director and a brilliant, provocative critic. Never Apologise collects some his finest essays, including pieces on Chaplin, Welles, and John Ford; England (he was a Scot); Gielgud and Richardson; and most illuminatingly, on himself. His work may not make for comfortable reading, but his wisdom and relevance are undeniable.

    Comprehensive maps along with in-depth coverage of the cast of characters, eerie environments, and weapons are provided. Strategies and tactics for defeating enemies, plus game secrets and bonuses are revealed!

    Approach to Aesthetics will be welcomed both for bringing together these well known papers, and for its inclusion of new, previously unpublished papers. This timeless body of work will continue to demand and reward the attention of scholars and students.

    Moviegoing in America is an important, groundbreaking book. -- The Moving ImageWaller assembles an impressive collection that should become a key resource in the teaching of film exhibition history. -- Screen

    His Westerns, including The Searchers, Stagecoach, and The Man Who Shot Liberty Valance, have had an enormous influence on contemporary U.S. films, from Star Wars to Taxi Driver.In John Ford Made Westerns, nine major essays by prominent scholars of Hollywood film situate the sound-era Westerns of John Ford within contemporary critical contexts and regard them from fresh perspectives. These range from examining Ford's relation to other art forms (most notably literature, painting, and music) to exploring the development of the director's reputation as a director of Westerns. While giving attention to film style and structure, the volume also treats the ways in which these much-loved films engage with notions of masculinity and gender roles, capitalism and community, as well as racial, sexual, and national identity.Contributors include Charles Ramirez Berg, Matthew Bernstein, Edward Buscombe, Joan Dagle, Barry Keith Grant, Kathryn Kalinak, Peter Lehman, Charles J. Maland, Gaylyn Studlar, and Robin Wood.ContentsPart IIntroduction, Gaylyn Studlar & Matthew Bernstein"'Shall We Gather at the River?' The Late Films of John Ford," Robin Wood "Sacred Duties, Poetic Passions: John Ford and Issue of Femininity in the Western," Gaylyn Studlar"The Margin as Center: The Multicultural Dynamics of John Ford's Westerns," Charles Ramirez Berg "Linear Patterns and Ethnic Encounters in the Ford Western," Joan Dagle "How the West Wasn't Won: the Repression of Capitalism in John Ford's Westerns," Peter Lehman "Painting the Legend: Frederic Remington and the Western," Edward Buscombe "'The Sound of Many Voices' Music in John Ford's Westerns," Kathryn Kalinak "John Ford and James Fenimore Cooper: Two Rode Together," Barry Keith Grant "From Aesthete to Pappy: The Evolution of John Ford's Public Reputation," Charles J. MalandPart II--DossierEmanuel Eisenberg, "John Ford: Fighting Irish," New Theater, April 1936Frank S. Nugent, "Hollywood's Favorite Rebel," Saturday Evening Post, July 23, 1949John Ford, "John Wayne--My Pal," Hollywood, no. 237 (March 17, 1951), translated from the Italian by Gloria MontiBill Libby, "The Old Wrangler Rides Again," Cosmopolitan, March 1964"About John Ford," Action 8.8 (Nov.-Dec. 1973)

    1946) has broken traditions and challenged audiences with a series of daring, angry, violent, and often confrontational films. Politically charged movies such as Nixon (1995), JFK (1991), and Wall Street (1987), and his Vietnam trilogy of Platoon (1986), Born on the 4th of July (1989), and Heaven and Earth (1993) provoke and enrage critics and audiences from all ideological walks. In a short time, Stone has established himself as one of the most admired and most reviled directors in American cinema.Ranging from 1981 to 1997, the fifteen conversations featured in Oliver Stone: Interviews reveal a man frustrated by what he sees as the hypocrisies of American politics, of conservatism, and of the Hollywood film industry. But the conflicts and tensions these issues generate spellbind him.In the interviews, Stone comes off as a man as brash, outspoken, confident, and complicated as his movies. His obsessions -- the 1960s, the ways in which Vietnam shaped the country, the nature of violence, and the role of the media in shaping it -- resurface again and again, no matter what film Stone is discussing.Though the subjects of Nixon, JFK, Born on the 4th of July, The Doors (1991), and Heaven and Earth are rooted in the turbulent 1960s, Stone as interviewee and filmmaker is firmly entrenched in the present. He fiercely discusses how the attitudes and political effects of the 1960s have defined later decades and generations, as he talks about his satire of the stock market (Wall Street, 1987) and media exposure (Natural Born Killers, 1994). Bolts of the director's raw wit and enthusiasm for the cinema shine through all of Stone's ferocious rage.Stone loves writing as well as directing. Whether discussing his screenplays written for other directors -- which include Scarface (1983), Midnight Express (1978), or Conan the Barbarian (1982, with director John Milius) -- or his own films, Stone emphasizes how crucial screenwriting is to making great movies. "Directing is a natural extension of writing," he says in a 1987 interview with Michel Ciment. "A director can always pull through with noise everywhere and his colleagues around. I don't think a good director can make a good film with a bad screenplay, but a bad director can deliver an acceptable film if he has a good screenplay. So for me, that's the number one priority."Charles L. P. Silet is a professor of English at Iowa State University.

    We have no choice but to take these illuminating trips with the poet, from one unsettling moment to another. An economy of language, an attention to the importance of the image, and a sophisticated understanding of rhetoric make this an essential read. This is a book that celebrates both the lyric and the avant-garde, the formal and the abstract. Trains of Winnipeg is an outstanding and unique poetic debut.

    Written by award-winning visual effects expert Karen Goulekas, Visual Effects in a Digital World consolidates the knowledge of this rapidly expanding industry into a manageable, accessible reference guide. Covering over 7,000 visual effects terms and providing 177 accompanying illustrations, Goulekas has written what Visual Effects Producer Fiona Stone called "a comprehensive reference book for the modern-day film industry" and "an invaluable resource for the novice and experienced filmmaker alike."Features:*16 pages of color from blockbuster films to illustrate definitions of terms*Covers topics such as computer graphics, digital compositing, live action, stage, and miniature photography, and a wide range of computer and Internet concepts*Offers job descriptions for positions found throughout the industry*Demystifies the jargon used by practitioners in every subspecialty

    It provides a contextual overview of dance in the screen media and analyzes a selection of case studies from the popular dance imagery of music video and Hollywood, through to experimental art dance. The focus then turns to video dance, dance originally choreographed for the camera. Video dance can be seen as a hybrid in which the theoretical and aesthetic boundaries of dance and television are traversed and disrupted. This new paperback edition includes a new Preface by the author covering key developments since the hardcover edition was published in 2001.

    "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910).Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Bjorkin, Stephen Bottomore, Marta Braun, Jean Chateauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, Andre Gaudreault, Tom Gunning, Francois Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.

    The book includes storyboards, the movie script, concept sketches, and images of the characters, sets and props from the movie. Behind-the-scenes information and interviews with the creative minds behind this ground-breaking production. The book brings to light the truly staggering level of work and detail involved in the movie's development.

    White Squall - Last Voyage of Albatross is written by Richard Langford, the English Professor, and one of the few survivors, aboard that doomed school ship in 1961. He has described, in flowing prose, all the beautiful ports of call, the camaraderie of the crew and of course, the tension and problems that are inevitable with such an undertaking. As you turn the pages of White Squall you will become one of the crew aboard this great ship as she visits the then, unspoiled lands and people of those far off ports. You will understand why people would want to accomplish such a difficult undertaking and all the joys and hardships of life aboard. When you have finished this truly great sea adventure, you will feel you were there, on that final, fatal voyage.

    The makers of these films have become icons of cool, revered throughout the worlds of film, music, and fashion. How has this come about? And what turns these films into lifestyles? Drawing on exclusive interviews with studio bosses, actors, filmmakers, and fans, and touring dozens of film locations, Your Face Here reveals all.

    His provocative work has stimulated debate and received major retrospectives in museums, galleries, and cinematheques around the world. William Beard's The Artist as Monster was the first book-length scholarly work in English on Cronenberg's films, analyzing all of his features from Stereo (1969) to Crash (1996). In this paperback edition, Beard includes new chapters on eXistenZ (1999) and Spider (2002).Through close readings and visual analyses, Beard argues that the structure of Cronenberg's cinema is based on a dichotomy between, on the one hand, order, reason, repression, and control, and on the other, liberation, sexuality, disease, and the disintegration of self and of the boundaries that define society. The instigating figure in the films is a scientist character who, as Cronenberg evolves as a filmmaker, gradually metamorphoses into an artist, with the ground of liberation and catastrophe shifting from experimental subject to the self.Bringing a wealth of analytical observation and insight into Cronenberg's films, Beard's sweeping, comprehensive work has established the benchmark for the study of one of Canada's best-known filmmakers.

    Separated into five identifiable categories-aliens, beasts, creations, psychopaths, and the supernatural-each horrific entity is presented with a full description, an overview of unnatural habits, and tips on how to destroy it.This essential survival guide also includes:• A directory of the scariest films• 30 photos of the creepiest monsters• Body count index of the deadliest killers• Feeding habits of the hungriest eaters• Trivia on the biggest blockbusters: Alien, The Blair Witch Project, The Blob, Dracula, The Fly, Frankenstein, Halloween, Jaws, John Carpenter's The Thing, Jurassic Park, King Kong, Little Shop of Horrors, A Nightmare on Elm Street, The Terminator, The Texas Chainsaw Massacre, War of the Worlds... and many more.So the next time you're confronted by the supernatural, the extraterrestrial, or the unclassifiable, look in here for all the facts-and run like hell!

    Among the most prolific and provocative of writers, Mamet frequently draws emotional responses from both audiences and critics. Mamet in Conversation collects interviews with the playwright that offer readers insight into his life in the theater, his artistic vision, and the evolution of his craft. The interviews help followers of his work better understand the sensibilities that have informed his work in drama, film, and prose over a twenty-five-year career. The conversations collected here--several of which appear in print for the first time--allow a glimpse inside Mamet's creative process, and to the recurring motifs that drive his work. The range of topics is impressive and includes the celebratory purpose of theater, the responsibility of the playwright, writing for Hollywood, the seduction of fame, the search for truth and the merchandising of it, and the decay of culture. The interviews shed light on the personal as well: Mamet's return to Judaism, his appreciation of Midwestern virtues, his love of rural Vermont, the problems of embattled virtue, and the challenge of aging. The book includes transcripts of Mamet's engagingly candid broadcast interviews with Jim Lehrer and Charlie Rose of PBS, published here for the first time.Leslie Kane is Professor of English, Westfield State College. She is the author of three previous books and is President of the David Mamet Society of the Modern Language Association.

    Features scores of rare movie stills, behind-the-scenes photos, and firsthand interviews with Monroe's fellow stars, colleagues, and friends.

    In this extensively illustrated book, Thomas Morawetz explores how the creation of transformational makeup for theatre, movies, and television fulfills this fantasy of self-transformation and satisfies the human desire to become "the other." Morawetz begins by discussing the cultural role of fantasies of transformation and what these fantasies reveal about questions of personal identity. He next turns to professional makeup artists and describes their background, training, careers, and especially the techniques they use to create their art. Then, with numerous before-during-and-after photos of transformational makeups from popular and little-known shows and movies, ads, and artist’s demos and portfolios, he reveals the art and imagination that go into six kinds of mask-making—representing demons, depicting aliens, inventing disguises, transforming actors into different (older, heavier, disfigured) versions of themselves, and creating historical or mythological characters.

    Scott MacDonald contextualizes his discussion with a wide-ranging and deeply informed analysis of the depiction of place in nineteenth- and twentieth-century literature, painting, and photography. Accessible and engaging, this book examines the manner in which these films represent nature and landscape in particular, and location in general. It offers us both new readings of the films under consideration and an expanded sense of modern film history. Among the many antecedents to the films and videos discussed here are Thomas Cole's landscape painting, Thoreau's Walden, Olmsted and Vaux's Central Park, and Eadweard Muybridge's panoramic photographs of San Francisco. MacDonald analyzes the work of many accomplished avant-garde filmmakers: Kenneth Anger, Bruce Baillie, James Benning, Stan Brakhage, Nathaniel Dorsky, Hollis Frampton, Ernie Gehr, Larry Gottheim, Robert Huot, Peter Hutton, Marjorie Keller, Rose Lowder, Marie Menken, J.J. Murphy, Andrew Noren, Pat O'Neill, Leighton Pierce, Carolee Schneemann, and Chick Strand. He also examines a variety of recent commercial feature films, as well as independent experiments in documentary and such contributions to independent video history as George Kuchar's Weather Diaries and Ellen Spiro's Roam Sweet Home. MacDonald reveals the spiritual underpinnings of these works and shows how issues of race, ethnicity, gender, and class are conveyed as filmmakers attempt to discover forms of Edenic serenity within the Machine of modern society. Both personal and scholarly, The Garden in the Machine will be an invaluable resource for those interested in investigating and experiencing a broader spectrum of cinema in their teaching, in their research, and in their lives.

    Coming of age during the turmoil of the sixties, Trevino recorded the struggles to organize students and workers into the largest social and political movement in the history of Latino communities in the United States.

    In the golden age of Hollywood, Paramount was one of the Big Five studios. Gulf + Western's 1966 takeover of the studio signaled the end of one era and heralded the arrival of a new way of doing business in Hollywood. Bernard Dick reconstructs the battle that culminated in the reduction of the studio to a mere corporate commodity. He then traces P

    With six highly acclaimed films to his credit, Kusturica is already established as one of the most important of contemporary filmmakers. "Underground" won the Golden Palm Award at the Cannes Film Festival and "Arizona Dream" with Johnny Depp won the Silver Bear at the Berlin Film Festival. Including his most recent film, "Black Cat, White Cat, " this book delves into diverse facets of Kusturica's work, all of which is passionately dedicated to the marginal and the outcast.