Hailed by critics worldwide, part one of the movie trilogy was a box-office smash, one of the most successful films of the decade. Peter Jackson's "fierce, imaginative movie takes high-flying risks and inspires with its power and scale," wrote Newsweek. "In every way this is moviemaking on a grand scale," wrote the San Francisco Chronicle, while Time proclaimed the "grandeur, moral heft and emotional depth" of the film, which received thirteen Academy Award(R) nominations. Including more than 300 photographs from all three films, most unique to this book, and exclusive interviews with all the cast and crew, Brian Sibley's fascinating book takes every fan inside the process of adapting J.R.R. Tolkien's masterwork for the screen. For the first time in history, three major movies were made at the same time, a triumphant and monumental undertaking that took the world by storm. Here can be found details about the hundreds of dedicated artists, craftspeople and cast and crew members who labored for years -- adding authenticity at every stage -- to bring one of the greatest stories ever told to an eager film audience. Sibley takes us inside the process of filmmaking to show us how the magic is made -- from the director, writers and actors to wardrobe, makeup, miniatures, music and digital special effects, it's all here."It was tiring, physically and mentally, but never dull. Three movies, one big story, and so much variety: one day shooting scenes of intimate heart-wrenching drama, the next, vast battle scenes involving hundreds of extras. Every day brought an opportunity to create something new on this enormous canvas that is The Lord of the Rings." -- Peter Jackson

    From those conversations stemmed this enlightened, affectionate book -- a mine of wonderful, surprising observations and information about editing, writing and literature, music and sound, the I-Ching, dreams, art and history.The Conversations is filled with stories about how some of the most important movies of the last thirty years were made and about the people who brought them to the screen. It traces the artistic growth of Murch, as well as his friends and contemporaries -- including directors such as Francis Ford Coppola, George Lucas, Fred Zinneman and Anthony Minghella -- from the creation of the independent, anti-Hollywood Zoetrope by a handful of brilliant, bearded young men to the recent triumph of Apocalypse Now Redux.Among the films Murch has worked on are American Graffiti, The Conversation, the remake of A Touch of Evil, Julia, Apocalypse Now, The Godfather (all three), The Talented Mr. Ripley, and The English Patient."Walter Murch is a true oddity in Hollywood. A genuine intellectual and renaissance man who appears wise and private at the centre of various temporary storms to do with film making and his whole generation of filmmakers. He knows, probably, where a lot of the bodies are buried."

    The Great Movies collects one hundred of these essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to that film with a fresh set of eyes and renewed enthusiasm–or perhaps to an avid first-time viewing. Ebert’s selections range widely across genres, periods, and nationalities, and from the highest achievements in film art to justly beloved and wildly successful popular entertainments. Roger Ebert manages in these essays to combine a truly populist appreciation for our most important form of popular art with a scholar’s erudition and depth of knowledge and a sure aesthetic sense. Wonderfully enhanced by stills selected by Mary Corliss, film curator at the Museum of Modern Art, The Great Movies is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.The Great Movies includes: All About Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • La Dolce Vita • Metropolis • On the Waterfront • Psycho • The Seventh Seal • Sweet Smell of Success • Taxi Driver • The Third Man • The Wizard of Oz • and eighty-five more films.From the Hardcover edition.

    The show has won the Producers Guild Award, Directors Guild Award, Writers Guild Award, Screen Actors Guild Award, Golden Globe, Humanitas Prize and the Peabody.

    There were three extraordinary children in the Tenenbaum family; Chas Tenenbaum (Ben Stiller) was a financial expert and started buying real estate in his early teens; Margot Tenenbaum (Gwyneth Paltrow) was an acclaimed playwright and won a Pulitzer Prize in the 9th grade; Richie Tenenbaum (Luke Wilson) was a champion tennis player ranked 2nd in the world by the age 17. They were brilliant. They were famous. They were unlucky enough to be the children of a man named Royal Tenenbaum (Gene Hackman). Now for the first time in 25 years, they're all living together under the same roof. After having largely gone their separate ways they're looking to mend fences--and themselves in the process.

    In this study, Yvonne Tasker explores the way the film weaves together gothic, horror and thriller conventions to generate both a distinctive variation on the cinematic portrayal of insanity and crime, and a fascinating intervention in the sexual politics of genre.

    The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the older tried and true methods.

    Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One, The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street; Underworld U.S.A., a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor, which exposed the conditions in mental institutions; and White Dog, written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction

    In Moviemakers' Masterclass, Laurent Tirard talks to an illustrious collection of today's greatest directors to get to the core of their approach to cinema. The results shed a unique light upon the mysteries of the directorial process. Martin Scorsese, we learn, likes setting up each shot very precisely in advance. Lars von Trier, on the other hand, refuses to think about a set-up until the day of filming. And Bernardo Bertolucci tries to dream his shots the night before . . .Other directors featured include Woody Allen, Pedro Almodovar, Tim Burton, the Coen brothers, Jean-Pierre Jeunet and Wong Kar-Wai.

    The poster art from the noir era has a bold look and an iconography all its own. During noir's golden age, studios commissioned these arresting illustrations for even the lowliest "B" thriller. The Art of Noir is the first book to present this striking artwork in a lavishly produced, large-format, full-color volume. The more than 300 dazzling posters and other promotional material range from the classics to rare archive films such as The Devil Thumbs a Ride and Blonde Kiss. With rare offerings from around the world and background information on the illustrators, The Art of Noir is the ultimate companion for movie buffs and collectors, as well as artists and designers.

    Big deal. You should try the lunches they serve out of Newark. Compared with the chicken napalm I ate on my last flight, the men in Con Air are about as dangerous as balloons.”Anthony Lane on The Bridges of Madison County—“I got my copy at the airport, behind a guy who was buying Playboy’s Book of Lingerie, and I think he had the better deal. He certainly looked happy with his purchase, whereas I had to ask for a paper bag.” Anthony Lane on Martha Stewart—“Super-skilled, free of fear, the last word in human efficiency, Martha Stewart is the woman who convinced a million Americans that they have the time, the means, the right, and—damn it—the duty to pipe a little squirt of soft cheese into the middle of a snow pea, and to continue piping until there are ‘fifty to sixty’ stuffed peas raring to go.”For ten years, Anthony Lane has delighted New Yorker readers with his film reviews, book reviews, and profiles that range from Buster Keaton to Vladimir Nabokov to Ernest Shackleton. Nobody’s Perfect is an unforgettable collection of Lane’s trademark wit, satire, and insight that will satisfy both the long addicted and the not so familiar.

    In this book, Ernest Larsen examines the film's sophistcated narrative structure and the new spin it puts on an old genre.

    Of the scripts included here, Barton Fink--an intense look at the psychological ruin of a New York playwright trying to make it in 1940s Hollywood--is a masterful culmination of these themes.

    This collection of three screenplays displays his defiantly unorthodox approach to film form, as well as the unclassifiable imaginative energy that drives all of his work.

    The Emperor and the Wolf is an in-depth look at these two great artists and their legacy that brims with behind-the-scenes details, many never before known, about their tumultuous lives and stormy relationships with the studios and with one another. More than just a biography, though, The Emperor and the Wolf is also an impromptu history of Japanese cinema -- its development, filmmakers, and performers -- and a provocative look at postwar American and Japanese culture and the different lenses through which two great societies viewed each other.

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    If the gore epics, women-in-prison films, and shockumentaries showcased within their mildewed walls didn't live up to their outrageous billing, the audience shouted, threw food, and even vandalized the theaters. For dedicated lovers of extreme cinema, buying a movie ticket on the Deuce meant putting your life on the line. Authors Bill Landis and Michelle Clifford came to know those grindhouses better than anyone else, and although the theaters were gone by the mid-1980s, the films remained. In Sleazoid Express, Landis and Clifford reproduce what no home video can -- the experience of watching an exploitation film in its original fight-for-your-life Deuce setting. Both a travelogue of the infamous grindhouses of yore and a comprehensive overview of the sleaze canon, Sleazoid Express offers detailed reviews of landmark exploitation classics and paints intimate portraits of directors whose notorious creations played the back end of triple bills for years on end. With wit, intelligence, and an unflinching eye, Landis and Clifford offer the definitive document of cinema's most intense and shocking moments as they came to life at a legendary place.

    This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    Dangerous Men takes a close look at the images of manhood during this pre-Code era, which coincided with an interesting time for men-the culmination of a generation-long transformation in the masculine ideal. By the late twenties, the tumult of a new century had made the nineteenth century's notion of the ideal man seem like a repressed stuffed shirt, a deluded optimist. The smiling, confident hero of just a few years before fell out of favor, and the new heroes who emerged were gangsters, opportunists, sleazy businessmen, shifty lawyers, shell-shocked soldiers-men whose existence threatened the status quo. In this book, LaSalle highlights such household names as James Cagney, Clark Gable, Edward G. Robinson, Maurice Chevalier, Spencer Tracy, and Gary Cooper, along with lesser-known ones such as Richard Barthelmess, Lee Tracy, Robert Montgomery, and the magnificent Warren William. Together they represent a vision of manhood more exuberant and contentious-and more humane-than anything that has followed on the American screen.

    He was a notoriously private man, rarely granting interviews. For the first time, his life will be portrayed in over 200 images from film, photographs, and the words and full-color paintings of Christiane Kubrick, his wife for over 42 years.Never before seen photographs offer a unique perspective on a man, his times, and his films -- from his very first, Day of Flight (1950), through to his last and unrealized project, finished by Steven Spielberg, A.I. (2001)."Stanley Kubrick": A Life in Pictures explores the many and varied aspects of its subject -- the director, the producer, the photographer, the writer and, not least of all, the man himself.

    He is known for masterpieces of controlled human emotion, exploring every facet of the personality in relentless detail. He wrote: "I had the possibility of corresponding with the world around me in a language that is literally spoken from soul to soul."These two screenplays, liberally illustrated with production stills featuring actors, including his favourite actress, ex wife, Liv Ullman, are classics of the screen. They will be sought after by film students, and lovers of his films, New interest in Bergman is being generated by the recent release of Faithless, Liv Ullman's 2001 masterpiece, with a screenplay by Bergman.Born in Sweden in 1918, Ingmar Bergman is still contributing to his canon of work.

    This is the first English-language publication of the work, which Akerman wrote and first performed as a monologue in Paris and Brussels. The accompanying CDs document the theatrical reading that took place at the Dia Center for the Arts, New York, in October 2001. In them, the listener can hear Akerman's singular voice as she muses on familial relations, communication, closeness, and distance.

    With his trademark glasses, toothy grin, and character that vividly reflected the era of the 20s, Lloyd became the most popular comedian on the screen, producing more movies than Keaton and Chaplin combined. He created the language of thrill comedy, influencing not only his contemporaries, but also modern directors and writers as well - his race-to-the-rescue scene in Girl Shy was the model for the final sequence of The Graduate. This book is a vivid, behind-the-scenes account of Lloyd's movie making - the innovative techniques, the development of the elaborate and thrilling comic sequences, and the idea process - from his early days in silent film through his work in talking pictures. With glorious, never-before-published photographs, film stills from the archives of the Harold Lloyd Estate and Film Trust, and a text by film historian Jeffrey Vance and Lloyd's granddaughter Suzanne, the book paints a portrait of a master filmmaker and comedian.

    This easy-to-follow reference–written clearly, without confusing legal jargon–is packed with expert insights on distribution, licensing, and merchandising. The book's invaluable resource section includes definitions of lingo for acquisition agreements and employment deals, twelve ready-to-use sample contracts, and a directory of entertainment attorneys in both New York and Los Angeles. With the negotiating tips in this guide, agents, writers, directors, actors, financiers, and filmmakers will save thousands of dollars in attorney fees.

    100+ photos, many in color.

    A feast for the eyes and other visceral zones, Trash rolls in the mud with graphic art of such questionable aesthetic quality and social worth that it practically redefines the poster as advertising medium. Chapters each define a key Trash topic (Sex Trash, Action Trash, Sick Trash, Race Trash, Groovy Trash, Docu Trash), collecting the most zombified, oversexed, lethal pest-infested, and tasteless posters from each genre. With plagues of frogs, meteors headed straight for earth, sex-starved zombies, and explosion after glorious explosion, Trash gleefully crawls across the underbelly of both the cinematic and poster arts.

    But there is also a nearly forgotten genre of even saucier X–rated movies. Now, Simon Sheridan traces the history of the British sex film, from its beginnings in such coy nudist-camp flicks as Naked as Nature Intended, through to its boom years with the Confessions series, to its demise following censorship crackdowns and the introduction of home videos in the 80s. Coaxing the facts from previously reluctant interviewees, Simon Sheridan has compiled the first definitive filmography of this long-overlooked genre.

    This title includes his screenplays: Simple Men & Trust, Amateur, Flirt, and Henry Fool.

    We've diligently compiled a list of 140 of the most influential movies of the 1980s that's sure to please popcorn gobblers and highbrow chin-strokers alike. The 80s was a time for adventurers, an era of excess, pomp, and bravado. In the era when mullets and shoulder pads were all the rage, moviegoers got their kicks from flicks as wide-ranging as Blade Runner, Indiana Jones, When Harry Met Sally, and Blue Velvet. Without a doubt, sci-fi was the most important genre of the decade, with non-human characters like E.T. winning the hearts of millions while the slimy creatures from Aliens became the stuff of nightmares and movies like Ghostbusters and Back to the Future fused comedy and sci-fi to the delight of audiences everywhere. In fact, the 1980s saw the invention of a new reality, a movie-world so convincingly real-no matter now far-fetched-that spectators could not help but abandon themselves to it. Now that's entertainment, folks.

    It consists of thousands of glass-negatives, negatives and photoprints of Chaplin's life. Chaplin has documented his life with passionate enthusiasm: private photographs taken by his friends, his family and his children have been collected as well as "official" photographs made during shootings and work in the studios. So far, these photographs have never been published. From this tremendous find photographer Michel Comte has put together a sensitive album which shows a Charlie Chaplin hitherto unknown. Here, the trips around the world are in the fore, the "snapshots" with artist colleagues, persons in public life, with relatives, children and grandchildren.The large-format volume begins in 1909, and ends with a color photograph taken immediately prior to Chaplin's death on December 25th 1977. This book presents an artist who has been "acting" throughout his life, and who "has been in the limelight" in his private life, too.

    Just as the forties was the decade hailed nostalgically ever since as Hollywood's golden age, it also saw the emergence of a dark new undercurrent in pop culture - the sinister world of gumshoes, gangsters, double-crossing dames, and blind alleys that comprised film noir. Long before the era of the television trailer and satellite media junket, studios lured audiences to theaters with graphically bold poster art, gorgeously illustrated by classically trained artists adept at capturing the nuances of Veronica Lake's seductive glance, Humphrey Bogart's world-weary eyes, Bette Davis's icy stare, and hundreds of other stars at their best and most glamorous. All of the era's legendary stars are included in this volume: Lauren Bacall, Robert Mitchum, Barbara Stanwyck, Rita Hayworth, Cary Grant, Henry Fonda, Marlene Dietrich, and more. "Film Posters of the 40s" brings to life in lavish full-color an era in film history that will never be forgotten.

    A fresh and revelatory look at sexuality in the Great Age of movie making, Screened Out shows how much gay and lesbian lives have shaped the Big Screen. Spanning popular American cinema from the 1900s until today, distinguished film historian Richard Barrios presents a rich, compulsively readable analysis of how Hollywood has used and depicted gays and the mixed signals it has given us: Marlene in a top hat, Cary Grant in a negligee, a pansy cowboy in The Dude Wrangler. Such iconoclastic images, Barrios argues, send powerful messages about tragedy and obsession, but also about freedom and compassion, even empowerment.Mining studio records, scripts, drafts (including cut scenes), censor notes, reviews, and recollections of viewers, Barrios paints our fullest picture yet of how gays and lesbians were portrayed by the dream factory, warning that we shouldn't congratulate ourselves quite so much on the progress movies - and the real world -- have made since Stonewall.Captivating, myth-breaking, and funny, Screened Out is for all film aficionados and for anyone who has sat in a dark movie theater and drawn strength and a sense of identity from what they saw on screen, no matter how fleeting or coded.

    It contains the original screenplay, production stills, and full credits for the country house murder mystery.

    This book offers a facsimile of the film's shooting script, its cuts and changes, scene notes, never-before-seen photos, storyboards, correspondence, and an exclusive interview with director/screenwriter Randall Wallace.

    The company's movies conquered box offices around the world, but the movies it produced during this era were all produced at the same modest facility near Windsor, in the English Home Counties. Acclaimed Hammer expert Wayne Kinsey has gained exclusive access to production files and censor reports, and conducted numerous interviews during many years of research. The result is a definitive and exhaustive history of Hammer's golden age, as seen through the eyes of the stars and technicians who actually made the films.

    Mick Martin and Marsha Porter steer you toward the winners and warn you about the losers. DVD & Video Guide 2007 covers it all–more films than any other guide, including your favorite serials, B-Westerns, and made-for-TV movies, and even old television programs! Each entry, conveniently alphabetized for easy access, includes a summary, fresh commentary, the director, major cast members, the year of release, and the MPAA rating, plus a reliable Martin and Porter rating–from Five Stars to Turkey–so you’ll never get caught with a clunker again!THE BEST IN THE FIELD!Including• BRAND-NEW DVD LISTINGS• DIRECTOR AND STAR INDEXES• COMPLETE ACADEMY AWARD LISTINGS• WHERE TO GET THOSE HARD-TO-FIND VIDEOSFrom the Trade Paperback edition.

    In a work that itself captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity.At this book's heart is the cinema's essential paradox: temporal continuity conveyed through "stopped time," the rapid succession of still frames or frozen images. Doane explores the role of this paradox, and of notions of the temporal indeterminacy and instability of an image, in shaping not just cinematic time but also modern ideas about continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation on the status of cinematic knowledge, her book is also an inquiry into the very heart and soul of modernity.

    Originally published or broadcast between 1938 and 1989 in worldwide locations, these pieces confirm that Welles's career was multidimensional and thoroughly inter-woven with Welles's persona. Several of them offer vivid testimony to his grasp on the public imagination in Welles's heyday, including accounts of his War of the Worlds broadcast. Some interviews appear in English for the first time. Two transcriptions of British television interviews have never before appeared in print. Interviewers include Kenneth Tynan, French critic André Bazin, and Gore Vidal. The subjects center on the performing arts but also embrace philosophy, religion, history, and, especially, American society and politics. Welles confronts painful topics: the attempts to suppress Citizen Kane, RKO's mutilation of The Magnificent Ambersons, his loss of directorial authority, his regret at never having run for political office, and his financial struggles. "I would have sold my soul" to play Marlon Brando's role as Don Corleone in The Godfather, he tells a BBC interviewer. Welles deflates the notion of the film director's omnipotence, insisting that it is only in the editing studio that he possesses "absolute control." With scholarly erudition, Welles revels in the plays of Shakespeare and discusses their adaptation to stage and screen. He assesses rival directors and eminent actors, offers penetrating analyses of Citizen Kane, Touch of Evil, Chimes at Midnight, and The Third Man, and declares that he never made a film that lacked an ethical point-of-view. These conversations reveal the majestic mind and talent of Welles from a fresh perspective.

    Now in a new 30th Anniversary edition, E.T.: The Extra-Terrestrial from Concept to Classic is the only official book on the making of the film—the book Spielberg himself calls, “Our E.T. family album.” Lavishly illustrated with more than 200 photos and drawings, E.T.: The Extra-Terrestrial from Concept to Classic includes the complete annotated screenplay by Melissa Mathison, remembrances from the cast and crew, and fascinating little known facts and trivia about the production, making it a must for film buffs and the countless fans who hold this extraordinary motion picture close to their hearts.

    Originally developed from practical tools Patz created for her film and television production career, this new edition has undergone a comprehensive update to address the shifting balance between digital and film technologies and to pave the way as we progress further into the digital age. The book includes everything from budgeting, to managing the production office, to script revisions, to cost reporting, to copyright, to publicity, and much, much more. With Patz’ penchant for sharing knowledge and her knack for communicating concepts, Film Production Management 101 continues to be the book you have to have open on your desk for every prep, shoot, and wrap day. The more than 50 useful forms and checklists which are included (and downloadable) will save you time, money, and headaches, working like a pro right from day one.

    No, the first James Bond film, James Bond: The Legacy is the official, definitive guide to the 007 phenomenon. Loaded with anecdotes, facts, and illustrations, the book provides features on the key actors, from Sean Connery to Pierce Brosnan, directors, costume and set designers, and others working behind the scenes. Without a doubt, this is the book of the Bond World.James Bond: The Legacy takes readers through a comprehensive -- and fun -- history of the movies. The book places the films in the context of their times, showing how producers Albert Cubby Broccoli and Harry Saltzman drew inspiration from the Cold War and from suave, glamorous icons like Hugh Hefner and JFK, and how later world events shaped story lines -- and even how closely the series presaged actual technological developments. As the films move into their fifth decade, the book traces the total Bond impact, through fashion, the Austin Powers films, the Robbie Williams video, and much more, on a whole new generation.Illustrated with over 550 rare photographs, illustrations, and storyboards from the Bond archives, James Bond: The Legacy ties in with major events and promotions marking 007's 40th anniversary. This will be a must-have book for the 2002 holiday season.

    An in-depth examination of the techniques and films of some of the world�s greatest cameramen.

    He remains the most influential filmmaker of post-revolutionary Iran and has produced a body of work that is as rooted in his native land as it is universal in appeal.Respected cinema historian Alberto Elena uses Iranian sources wherever possible to frame Kiarostami’s oeuvre within the context of the rich artistic and intellectual Persian tradition that has nurtured the director. He examines his blending of fiction and reality, and his recurring themes of death, meaning in life, isolation, solidarity and the lives of women. The result is a retrospective that reveals exactly how this most Iranian of directors has come to assume a place in the pantheon of international cinema, from his early days as an illustrator and graphic designer, and his collaborative work and influences to his current master-status.Alberto Elena teaches film history at the Universidad Autónoma de Madrid. The editor of Secuencias, Revista de Historia del Cine, he has organised various film retrospectives and participated as a member of the jury at different international film festivals. In addition to his contributions to numerous periodicals, his publications include Cine e Islam, Satyajit Ray, Ciencia, cine e historia: de Méliès a 2001 and The Cinema of Latin America.

    "Imagine if, as the camera moved in closer, you actually heard me screeeeaming for my life, " the actor rhapsodizes. "That is horror. That is horror."In Tom Weaver's eighth interview book, Hedison -- and 22 other moviemakers -- talk about their horror and science fiction movie experiences as part of such films and TV series as The Blob, It Came from Outer Space, Tarzan the Ape Man, Star Trek, The Wild Wild West, Somewhere in Time, The Devil Bat, and Forbidden Planet. Among those interviewed are Dan O'Herlihy, Eve Brent, Kate Phillips, John Alvin, Anthony Cardoza, Tod Griffin, Alex and Richard Gordon, Denny Miller, Andrey Dalton, Suzanne Kaaren, and Warren Stevens.

    Film buffs will love this lively look at 150 of the finest achievements in 20th-century cinema, as selected by such legendary film writers as London Observer's Philip French; Amy Taubin of The Village Voice; and British screenwriter Gilbert Adair.

    Written by one of Hollywood's top historians, and newly updated in 2002, it contains fascinating stories on Hollywood murders, scandals, haunted houses, historical sites, landmarks and even graves of the stars. It includes 45 detailed maps, over 50 photos, and sections on Beverly Hills, Los Angeles and the San Fernando Valley.

    Deeply impressed by the young mime, Kubrick promptly hired Richter to choreograph and star in "The Dawn of Man" sequence as Moonwatcher, the man-ape who opens the epic film about the origin and future of humankind. Moonwatcher's Memoir is Richter's day-by-day account of his year-long education in filmmaking under the command of one of cinema's most innovative captains. Filled with illustrations and memorabilia from the making of 2001, this book will fascinate film aficionados, Kubrick devotees, and science fiction fans alike. Set three million years ago, "The Dawn of Man" tells the story of a tribe of our man-ape ancestors, who take the first step on the long road to modern humanity. Determined to make an anthropologically accurate film, Kubrick insisted on much more than the worn convention of men jumping around in "monkey suits." Here are the stories behind 2001's landmark achievements in make-up, costume, choreography, and cutting-edge cinematography that have made this film an enduring achievement. At once the story of Kubrick and his probing vision, the 2001 team and their interactions, and Dan Richter's personal triumph under intense pressure, Moonwatcher's Memoir is an inside look at eighteen unique minutes of film, climaxing in the longest flash forward in cinema's history—three million years, from bone to space station, in a twenty-fourth of a second—as Moonwatcher hurls man's first weapon into the sky and launches the episode into the stratosphere of film's greatest moments. 24 pages of black-and-white photographs complete this rare behind-the-scenes narrative chronicling the filming of Stanley Kubrick's ultimate vision.

    Over the course of his remarkable thirty-five-year career, Storaro has brought visual life to many of the films that have become centerpieces of contemporary cinema. Inspired by a gamut of sources, from Italian Renaissance paintings to Francis Bacon to esoteric primitive art to Tarzan comics, Storaro' s visual palette is as diverse as his films are eclectic and gorgeous. Now, for the first time, this master of cinematography outlines his personal philosophy of light, color, and the elements in an unprecedented three-volume opus, Writing with Light. In this first volume, Storaro considers the use of light, manifesting his ideas through his own writing, related film stills, a stunning selection of paintings, and a vast array of quotations from a myriad of philosophers. Together, these components interweave to express Storaro' s unique, philosophical, and powerful vision. Storaro' s films include "The Conformist, Last Tango in Paris, 1900, Reds, One from the Heart, Tucker, Dick Tracy, The Sheltering Sky, Little Buddha, Tango, Bulworth, Goya in Bordeaux, "and "Dune."

    The collection features interviews with such luminaries as Charlie Rose, Elvis Mitchell, Michael Sragow, and actor Delroy Lindo.Lee has made a broad range of movies, including documentaries (4 Little Girls), musicals (School Daze), crime dramas (Clockers), biopics (Malcolm X). An early advocate of digital video, he used the technology to film both of his 2000 releases, The Original Kings of Comedy and Bamboozled.Reactions to Do the Right Thing (1989) and Jungle Fever (1990) propelled Lee into a constant presence in the public eye as media currency. He directed commercials for Nike, Levi's, and the U.S. Navy, directed music videos, published seven books, and conducted many interviews explaining and clarifying his views. As Lee puts it, -I've been blessed with the opportunity to express the views of black people who otherwise don't have access to power and media. I have to take advantage of that while I'm still bankable.-Articulate and deeply passionate, Lee reveals a degree of subtlety and wit that is often lost in sound bites and headlines about him. The range of his interests is as diverse as the subjects of, and approaches to, his films.

    A precursor of the New York Film Festival, Cinema 16 screenings became a gathering place for New Yorkers interested not only in cinema, but in the use of media in the development of a more complete, effective democracy. For 17 years, many of the leading intellectuals and artists of the time came together as part of a membership society of thousands to experience the creative programming of Cinema 16 director, Amos Vogel. What audiences saw at Cinema 16 changed their lives and had an enduring impact not only on the New York City cultural scene, but nationwide. Vogel's distribution of landmark documentary and avant-garde films helped make a place for many films that could never have had commercial release, given the pressures of commercialism and censorship during the postwar era.

    James Mottram now offers the fullest imaginable guide to the film's many complexities. Memento's protagonist Leonard Shelby (Guy Pearce) is on a mission to find the man who murdered his wife. But Leonard suffers from a rare form of amnesia, and in order to keep track of his life he must surround himself with written reminders, some etched on his own flesh . . . This invaluable guidebook steers the reader through the mysteries of the movie's making and its many possible meanings, with expert guidance from Nolan himself and his key creative collaborators.

    As the couples spend more and more time together, the women realize their spouses are having affairs but the truth is even more shocking.

    From 1959, beginning with Joan Crawford's last major film, The Best of Everything, and ending in 1984 with Steaming, Joseph Losey's final picture, she worked behind the scenes on forty films, including The Misfits and Alien, capturing such legends as Marlene Dietrich, Clark Gable, Marilyn Monroe, Sophia Loren, Paul Newman, Isabella Rossellini, Marlon Brando and Anjelica Huston. Film Journal is a collection of these images, over 120 photographs in all, along with the notes and impressions made by Arnold during the shoots. As her camera revealed the personalities beneath the stars, Arnold also became privy to their personal lives. In Film Journal she writes memorably about the tensions and dramas on the film set, of Crawford sneaking in vodka in a Pepsi cooler, Dietrich recounting her night with JFK. With eighty previously unpublished photographs and including many old favorites, Film Journal is a classic from one of the twentieth century's most distinguished photographers.

    Those interviewed include such famous names as Lauren Bacall, Kirk Douglas, Sean Connery, Martin Scorsese, Rod Steiger, Dennis Hopper, Tom Hanks, Roman Polanski, Bernardo Bertolucci, Jack Lemmon, Steve Martin and many others. Presented in a lively and accessible manner by Mark Cousins and fully illustrated throughout, the book will appeal to the general reader and those wishing to learn about the craft of film-making. The book provides in-depth discussions on about 40 scenes which illustrate the technical excellence of director or actor in question, flanked by a brief series introduction and a bibliographical section and index. In essence the book will contain around 40 of the most important film scenes from the last 50 years.

    In this comprehensive guidebook, three experienced entertainment lawyers tell you everything you need to know to produce and market an independent film-from the development process to deal making, financing, setting up the production, hiring directors and actors, distributing and marketing your film.

    Quentin Tarantino (Pulp Fiction), Kevin Smith (Dogma), David Fincher (Fight Club), M. Night Shyamalan (The Sixth Sense), Ben Stiller (Reality Bites), Michael Bay (Pearl Harbor), and dozens of others are all members of Generation X, the much talked about but much misunderstood successors to baby boomers. This book is a critical study of the films directed by Gen Xers and how those directors have been influenced by their generational identity. While Generation X as a whole sometimes seems to lack direction, its filmmakers have devoted their careers to making powerful statements about contemporary society and their generation's role in it. Each section of the book deals with an aspect of Gen X filmmaking, including the influence of popular culture, postmodern narrative devices, slackerdom and the lack of direction, disenfranchisement and nihilism, the ever-evolving role of technology, gender issues and sexuality, the question of race, the influence of older filmmakers, and visions of the future.

    This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.

    Filmed mainly in Mexico, the movie traces Frida's life from her unbridled high school days to her death at age 47.This vivid book includes production notes, details on cinematography, set and costume design, and visual effects, music, notes by director Taymor, interviews with the cast, excerpts from books about Frida, reproductions of artwork, a historical timeline, and background sketches on the real figures portrayed in the movie.

    Billy Wilder: Interviews follows the filmmaking career of one of Hollywood's most honored and successful writer-directors and spans over fifty years. Wilder, born in 1906, fled from Nazi Germany and established himself in America. Starting with a celebrated 1944 Life magazine profile, the book traces his progress from his Oscar-winning heyday of the 1940s to the 1990s, in which he is still witty, caustic, and defiant. Often playful and sometimes outrageous, but just as often very serious, Wilder details his rise as a Berlin cub reporter to a fledgling screenwriter in Hollywood's "Golden Age." He tells the stories behind his brilliant direction of such classics as Double Indemnity (1944), The Lost Weekend (1945), Sunset Boulevard (1950), Stalag 17 (1953), Sabrina (1954), The Seven-Year Itch (1955), Some Like It Hot (1959), and The Apartment (1960), among others. A dazzling raconteur, Wilder gives the scoop on the royalty of cinema, from the maddening magic of Monroe to the uncanny empathy of frequent alter ego Lemmon. Though his natural tendency is to spin marvelous anecdotes on the subject of show business, Wilder also delivers penetrating and instructive observations on his craft. On screen, his special blend of cynicism and romanticism was always expressed in a style that avoided showiness. Billy Wilder: Interviews includes in-depth profiles, spirited Q&A's, and on-the-set glimpses of the director at work. Taken together, the interviews form an unofficial memoir of a sophisticated artist once described by a colleague as the most unusual and amusing man in Hollywood. Robert Horton is the film critic for The Herald in Everett, Washington. His work has been published in Film Comment, New York Newsday, American Film, and the Seattle Weekly.

    Filmmakers, film students, documentary makers for film and television, and lovers of pop culture will hear, in the filmmakers’ own words, the challenges and triumphs faced in making documentaries. Firsthand knowledge is shared on such topics as how the documentary process differs from making fictional films, storytelling technique, ethical boundaries, funding, film festivals, and much more. Industry leaders and award-winning filmmakers interviewed include: Ross McElwee, Albert Maysles, Susan Froemke, Bruce Sinofsky, Liz Garbus, DA Pennebaker, Chris Hedegus, Allie Light and Nick Broomfield. This reference provides insight into some of the most potent and best-known documentary work done in recent years

    . . from "Braveheart" in 1995 through "Gladiator" in 2000, with the "Titanic" phenomenon and the "Saving Private Ryan"/"Shakespeare in Love" feud in between. There is also complete coverage of the awards ceremonies?with delicious anecdotes on the presenters and performers, the producers and egos, the fashion stars and fashion victims. And, of course, a complete list of all the nominees and winners, as well as a list of notable non-nominees. Picking up where the classic "Inside Oscar" leaves off, this must-have guide treats us to a behind-the-scenes look at one of America's most beloved annual traditions!

    Because the genre emerged in the shadow of the Second World War, this profound psychological and philosophical unease is usually ascribed either to postwar fears about the atomic bomb or to the reactions of returning soldiers to a new social landscape. In Noir Anxiety, however, Kelly Oliver and Benigno Trigo interpret what has been called the "free-floating anxiety" of film noir as concrete apprehensions about race and sexuality.Applying feminist and postcolonial psychoanalytic theory to traditional noir films (Murder, My Sweet; The Lady from Shanghai; Vertigo; and Touch of Evil) and the "neo-noirs" of the 1970s, 1980s, and 1990s (Chinatown, Devil in a Blue Dress, and Bound), the authors uncover a rich array of unconscious worries and desires about ambiguous sexual, racial, and national identities, often displaced onto these films' narrative and stylistic components. In particular, Oliver and Trigo focus on the looming absence of the mother figure within the genre and fears about maternal sexuality and miscegenation. Drawing on the work of Freud and Julia Kristeva, Noir Anxiety locates film noir's studied ambivalence toward these critical themes within the genre's social, historical, and cinematic context.

    Finally, the genre's most colourful and least familiar directors and stars are given their due in this wide-ranging collection of articles and interviews from a fine assembly of renowned world horror experts. sDiscover such hidden treasures of world cinematic horror as Singapore's pontianak cycle, 1930s Mexican vampire movies, Austrian serial killer flicks, Germany's Edgar Wallace krimis, Bollywood ghost stories, Indonesia's penanggalan tales, the Chinese take on Phantom of the Opera, and the Turkish versions of Dracula and The Exorcist. s24 pulse-pounding chapters with selected filmographies and scores of images from the movies under discussion, including a stunning 16-page full-colour section!

    Arguably, animation provides the greatest opportunity for distinctive models of "auteurism" and revises generic categories. This is the first study to look specifically at these issues, and to challenge the prominence of live action movie-making as the first form of contemporary cinema and visual culture. Including extensive analysis of individual animators and their operation within studios such as Disney and Dreamworks, the book investigates the use of animation in genres from horror and science fiction to documentary and propaganda.

    Their experiences are illustrated with script excerpts, hand-written notes, storyboards, film stills, and photographs.

    The richness of their accomplishments emerge with compelling clarity in this book, in which African filmmakers speak candidly about their work. Featuring interviews with key personalities from a variety of nations, Questioning African Cinema provides the most extensive, comprehensive account ever given of the origins, practice, and implications of filmmaking in Africa. Speaking with pioneers Med Hondo, Souleymane Cissé, and Kwaw Ansah; renowned feature filmmakers Djibril Mambéty, Haile Gerima, and Safi Faye; and award-winning younger filmmakers Idrissa Ouedraogo, Cheick Oumar Sissoko, and Jean-Pierre Bekolo, N. Frank Ukadike identifies trends and individual practices even as he surveys the evolution of African cinema and addresses the politics and problems of seeing Africa through an African lens. Situating the unique achievement of each filmmaker within the geographic, historical, social, and political context of African cinema, he also explores questions about acting, distribution and exhibition, history, theory and criticism, video-based television production, and television's relationship to independent film. N. Frank Ukadike is associate professor of film and of African and African diaspora studies at Tulane University.

    Using the film as a starting point for exploring issues about God, the world, and what it means to be human, Hilary Brand has designed five group sessions on the themes of: Giving up - the prelude to change Giving out - the power of a gift Getting wise - the possibility of change Getting real - the power of acceptance Growing up - the process of change. Each session included extracts from the film, group discussion questions, exercises and meditations, suggestions for individual reading and related Bible passages. The book also includes appendices on the curious history of chocolate, the unfair economics of chocolate and ideas for a chocolate feast.

    Yet in writing classrooms the assumption is often that television is only an obstacle to teaching critical print literacy. Little careful attention has been paid to exactly how television influences the ways in which students write, or how their experiences with television might be used to help them write more effectively. Bronwyn T. Williams argues that television is a powerful influence that is always present in the writing classroom, even if it is not acknowledged by either teachers or students. His interviews with students and observations of their television viewing and print reading have led him to conclude that the rhetorical skills students develop that allow them to read televised communication fluently, and even critically, can be used in a writing class to explore the same concepts in print, such as narrative form, audience, plot, and irony.Williams shows teachers how they can harness these skills to influence the ways students perceive and engage in writing and reading from the first day of a composition course. Chapters in the book are followed by classroom practice interchapters which offer practical suggestions to help teachers use students' existing television literacies to achieve a more complex, nuanced, and critical literacy in print.The influence of television on student writers is complex, however, and Williams also examines how the discursive nature of television can conflict with writing pedagogies. Television as a communicative form that is structured by time, without a clear authorial presence, and dominated by emotion often conflicts with what writing teachers consider fundamental properties of discourse in the academy such as reflection, individual authorship, and detached analysis. Finally, Williams considers the implications of his study for the field of composition in a time of expanding communication and literacy technologies.In a world in which communication happens increasingly by electronic and visual means, where popular culture is seen to collide with the academy, Williams provides a refreshing and thought-provoking look at the intersections of seemingly disconnected literacies-television and print-and the ways in which teachers can draw upon certain critical discursive abilities their students already possess, but that have generally been dismissed and ignored.

    The Reader addresses major movements and key figures of the avant-garde, including filmmakers such as Andy Warhol, Kenneth Anger, Isaac Julien and Julie Dash, investigates how underground films have explored issues of gender, sexuality and race, and foreground technical innovations such as the use of Super 8mm and video.

    Computer-generated imagery (CGI), as seen in Hollywood blockbusters like Star Wars, Terminator 2, Jurassic Park, Independence Day, Men in Black, and The Matrix, is just the latest advance in the evolution of special effects. Even as special effects have been marveled at by millions, this is the first investigation of their broader cultural reception. Moving from an exploration of nineteenth-century popular science and magic to the Hollywood science fiction cinema of our time, Special Effects examines the history, advancements, and connoisseurship of special effects, asking what makes certain types of cinematic effects special, why this matters, and for whom. Michele Pierson shows how popular science magazines, genre filmzines, and computer lifestyle magazines have articulated an aesthetic criticism of this emerging art form and have helped shape how these hugely popular on-screen technological wonders have been viewed by moviegoers.

    After his discharge he began a theater career, starring in plays such as The Coral, that subsequently led to a film career and more than one turn as a director. He became best known in Germany for his convincing silent film portrayals of sinister characters, despite his also doing "enlightenment" films made to spur social reform. He left Germany for a silent film career in the United States at the urging of John Barrymore. Veidt returned to Germany when "talkies" came out and his accent and native German tongue made it difficult for him to adjust.This work details the film career of Conrad Veidt. It lists all movies that he was involved in and provides a synopsis, cast and crew credits, and reviews of each film.

    (Publication will coincide with the movie's deluxe DVD release on Barrel Entertainment.)Also included are interviews with author Tom Robbins (whose book," Another Roadside Attraction," was supposedly being read by Elvis when he died), and gonzo porn film star and director, Buttman.

    He isolates the various factors that make Trainspotting such a vivid document of its time.

    Presented by the American Film Institute, the nation's preeminent organization dedicated to advancing and preserving the art of the moving image, the American Film Institute Desk Reference is the most comprehensive reference book on filmmaking ever published. Providing detailed information on the world of film, its history and its personalities, this single volume is loaded with enough facts and trivia to satisfy any movie buff. Highlighting filmmakers and costume designers, financiers and actors, this complete guide is packed with more than 500 photographs and illustrations, a year by year chronology of film, and many special annotated lists, including the AFI's celebrated list of the 100 Best Films of the Past 100 Years.

    Learn how to read a script, find its core, determine your vision, communicate with writers, actors, designers, cinematographers, editors, composers, and all the members of your creative team in order to insure that your vision reaches the screen.

    It's all in here: great stories of actors and directors at the pinnacle of their careers; those who won and those who should've won; little-known information about all of the classic films; and even the scoop on Academy Award fashions, gaffes and speeches over nearly seventy-five years.Each year's awards are featured over four pages, filled with listings, information, quotes, sidebars and lots of color photographs. Readers will learn everything from the actors originally cast as the leads in Casablanca -- Ronald Reagan and Hedy Lamarr! -- to the particulars of Marlon Brando's rejection of his Oscar for Best Actor. It is a trove of essential trivia for both hardcore and casual film fans.Completely unauthorized, The Academy Awards is sassy and fun -- but it is also wise and full of awe for the magic of film at its finest. It is the biggest and best look yet at moviemaking, and at the industry's highest form of recognition, from the 1920s through the present.

    Sex, Drugs, Rock & Roll, and Musicals shows how American culture has changed over the twentieth century, from the Roaring Twenties (The Wild Party) to the cultural chaos of the '50s (Grease) and the sexual revolution of the '60s (Hair) and '70s (Rocky Horror), to the rebirth of the art form in the '90s (Bat Boy), and up to the present, exploring where we've been and where we might be heading. This is a celebration of the counter-culture taking center stage in the most American of performing arts, and changing it forever.

    There are personal interviews, anecdotes and personal reflections about the inner workings of the film industry. Each woman selected tells her own story of how she got into the film business, her real-life work experiences, her individual thoughts and visions about cinema, and how her work and career in the industry may differ from those of men. The photographic portraits in the volume are shot by international photographer Mike Manninen in collaboration with the author.

    Films such as Force of Evil, Night and the City, Double Indemnity, Laura, The Big Heat, The Killers, Kiss Me Deadly and, more recently, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were found in Germany and France and imported to Hollywood by emigre filmmakers, who developed them and allowed a vibrant genre to flourish. Andrew Dickos's Street with No Name traces the film noir genre back to its roots in German Expressionist cinema and the French cinema of the interwar years. Dickos describes the development of the film noir in America from 1941 through the 1970s and examines how this development expresses a modern cinema. Dickos examines notable directors such as Orson Welles, Fritz Lang, John Huston, Nicholas Ray, Robert Aldrich, Samuel Fuller, Otto Preminger, Robert Siodmak, Abraham Polonsky, Jules Dassin, Anthony Mann and others. He also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, Francois Truffaut, and Jean-Luc Godard. Addressing the aesthetic, cultural, political, and social concerns depicted in the genre, Street with No Name demonstrates how the film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.

    From his work with Martin Scorsese, such as The Last Temptation of Christ and Raging Bull, to the films of his own direction, such as Mishima and Affliction, Schrader has created a dark and affecting body of work that has had a profound effect on cinematic storytelling. The works in this volume represent some of his key moments as a writer and a director, including the script for what is perhaps his crowning achievement: Taxi Driver -- one of the most influential films of the seventies and an American classic.

    Beginning with an analysis of common color corrections, the book will introduce the reader to the color corrections possible with an array of digital video software, such as Final Cut Pro, Premiere, Avid, Avid Xpress DV 2.0, After Effects plug-ins, and other nonlinear software. Color correction problems and solutions are presented with tutorials on the companion CDROM to ensure that the reader gains a working knowledge of the techniques. Color Correction for Digital Video shows you how to use color to improve your storytelling, deliver critical emotional cues, and add impact to your videos. Beginning with a clear, concise description of color and perception theory, this book shows you how to analyze color correction problems and solve them-whatever NLE or plugin you use.

    In this text, Dina Iordanova provides a comprehensive study of this director.

    Courtesy of exclusive interviews, on-set reports and film reviews, Headpress 22 investigates these highly controversial asphyxiation-fetish filmmakers, whose most recent effort -- Duck! The Carbine High Massacre -- resulted in their arrest. Also included are interviews with James Ellroy, gay pornographer Bruce La Bruce, tasteless impersonator Dead Elvis, and porn star-cum-brothel girl Jeannie Rivers.

    Stagliano? "As famous as anybody in porno."How successful are you? "Very. More successful than virtually anyone else. And I'm sort of bragging now, I know, but I'm also telling you the truth. . . ."

    

    Updated with new and up-to-date films, this comprehensive compendium of bloopers, trivia, and fun facts will thrill every movie lover.

    Since the first edition was published nearly two decades ago, the nation has experienced several wars, both on the battlefield and in movie theatres and living rooms at home. Now author Lawrence Suid has extensively revised and expanded his classic history of the mutual exploitation of the film industry and the mil

    A popular TV star, he was catapulted to film stardom as 'The Man With No Name' in Sergio Leone's spaghetti westerns. Once established as a star, he became the John Wayne of his era, an American icon whose box-office drawing power remained undiluted three decades later, despite unfriendly critics, unfavourable gossip and unspectacular forays into politics and political life.Uniquely, Eastwood used his new-found star status to launch a second, and arguably more successful career as a director, which reached its apex when he was awarded the 1992 Best Picture Oscar for Unforgiven. Following his other mentor, Don Siegel, Eastwood's reputation as a director is that of a solid professional who makes films without wasting time or money. His output has followed a dual path of popular action films and more personal projects which display a range which confounds those who label him as an action star. Those paths intersect in his epic westerns, several of which can stand with the great films of the genre.This book analyses all of Eastwood's films as a director, and includes information about his acting career, particularly those films directed by members of his 'stock company', as well as tracing the influences of Leone, Siegel and others on his work.Pocket Essentials is a dynamic series of books that are brief, lively, and easy to read. Packed with facts as well as expert opinions, each book has all the key information you need to know about such popular topics as film, television, cult fiction, history, and more. In addition to an introduction to the subject, each topic is individually analyzed and reviewed, examining its impact on popular culture or history. There's also a reference section that lists related web sites and weightier (and more expensive) books on the subject. For media buffs, students, and inquiring minds, these are great entry-level books that build into an essential library.

    In an evocative montage of words and pictures she emphasizes that “sight” and “site” but also “motion” and “emotion” are irrevocably connected. In so doing, she touches on the art of Gerhard Richter and Annette Messagem: the film-making of Peter Greenaway and Michaelangelo Antonioni; the origins of the movie palace and its precursors, and on her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.

    It explores how films like "The Fight Club" and "The Truman Show" have impinged on more traditional territory and have tested the limits of conventional understandings of two central film genres.

    Nancy Spector explores the cycle's themes and aesthetic achievements; Neville Wakefield provides a guide to the films' richly arcane vocabulary; and Barney's key collaborators--composer, costume designer, make-up artist, technicians, and actors--provide texts that reveal his working process. With a wealth of film stills and other illustrations, this is a crucial companion to the film cycle.

    The interviews are illustrated with storyboards, marked-up scripts, shooting schedules, production shots, workbooks and stills revealing the creative processes behind some of the most influential films ever made. Through detailed interviews and examples, the book offers the reader insight into the craft and talent of some of the industry's top directors. This is not limited solely to their work habits or methodology, but also explores how their talents have evolved over the years, thus giving the aspiring director or film enthusiast both inspiration and a blueprint for success.

    McQueen. Belmondo. When most of us think of a well-dressed man, it's not a super-model that first comes to mind, but a movie star, such as one of these cinematic legends. For almost a century now, movies have served as vivid records of fashion's most memorable trends, and leading men have set the bar for the well-dressed and stylish guy in every era. Now men's fashion expert Marion Maneker tackles with flair men's biggest sartorial problem: lack of imagination. This step-by-step manual shows how any man can easily go from gauche to Goldfinger with simple, inspirational suggestions gleaned from such favorite screen icons as Astaire, Brando and Connery. With wit and elegance, Maneker offers practical instructions and indispensable insight. Whether you admire the raffish courage of Indiana Jones or aspire to the suspendered ruthlessness of Wall Street, Maneker will show you how to do it right. With his tips, any guy can become a leading man.

    From the bowels of New York and Punk clubs in San Francisco, to Pyongyang, North Korea, and Moscow on a fake visa, Schonherr is a cineaste on a mission: He is attacked by feminists; witness to the final gig of shock-rocker GG Allin; employee in the world's cheapest film-to-video transfer shop; and proprietor of a rat-house cinema.Trashfilm Roadshows is a film book like no other.

    Since his death in 1980, Fisher's reputation has grown from relative obscurity and his influence on the development of the modern horror film has been widely recognized. However, Fisher's importance should not be limited to the context of the fantasy and horror film genres. His films should also be recognized as expressions of his generalizations about human spirituality. This critical study of Fisher's films begins with an introduction that provides biographical information on his film career, summaries of all of the films he directed and examples of his impact on contemporary cinema. All of Fisher's films are analyzed in terms of their Christian and religious themes as well as their mythical sources. Chapters are devoted to Fisher's work on the subjects of Frankenstein, Dracula, curses (The Devil Rides Out), the ancient goddess (The Gorgon), the divided self (The Man Who Could Cheat Death) and the redeemer hero (The Stranglers of Bombay). The concluding chapter analyzes the role and influence of Biblical narratives in Fisher's films. Also included is a filmography; the work is fully indexed.

    The topics range from the invention of cinema to contemporary F-X aesthetics; from Shakespeare films to Seinfeld; from '30's screwball comedies to Hong Kong martial-arts movies; from the roots of sexploitation pictures to the televising of Bill Clinton's grand jury testimony. There is an emphasis on the unpredictable interactions between film as a medium apt for expressing the most private dreams and film as the mass literature of the modern world, subject to all the pressures of financing and marketing. Many of the pieces are profiles of individual directors or actors--Orson Welles, Michael Powell, Ed Wood, Marlon Brando, Alfred Hitchcock, Dana Andrews, The Marx Brothers, Bing Crosby--whose careers are probed to look for the point where private obsession meets public myth-making.

    This unique book explores the history, ideology, and aesthetics of China's left-wing cinema movement, a quixotic film culture that was as political as commercial, as militant as sensationalist. Originating in the 1930s, it marked the first systematic intellectual involvement in Chinese cinema. In this era of turmoil and idealism, the movement's films were characterized by fantasies of heroism intertwined with the inescapable spell of impotency, thus exposing the contradictions of the filmmakers' underlying ideology as their political and artistic agendas alternately fought against or catered to the taste and viewing habits of a popular audience. Political cinema became a commercially successful industry, resulting in a film culture that has never been replicated. Drawing on detailed archival research, Pang demonstrates that this cinema movement was a product of the era's social, economic, and political discourses. The author offers a close analysis of many rarely seen films, richly illustrated with over eighty stills collected from the Beijing Film Archive. With its original conceptual approach and rich use of primary sources, this book will be of interest not only to scholars and fans of Chinese cinema but to those who study the relationship between cinema and modernity.