As a result, writers will dig deep within and explore their own values and worldviews in order to create an effective story. Writers will come away with an extremely precise set of tools to work with--specific, useful techniques to make the audience care about their characters, and that make their characters grow in meaningful ways. They will construct a surprising plot that is unique to their particular concept, and they will learn how to express a moral vision that can genuinely move an audience.The foundations of story that Truby lays out are so fundamental they are applicable--and essential--to all writers, from novelists and short-story writers to journalists, memoirists, and writers of narrative non-fiction.

    And yet, the history of its making is so colorful, so chaotic, that one cannot help but marvel at the seemingly insurmountable odds it overcame to become a true cinematic masterpiece, a film that continues to captivate us decades after its release. Now, thirty-five years after The Godfather's highly anticipated debut, comes this fully authorized, annotated, and illustrated edition of the complete screenplay. Virtually every scene is examined including:Fascinating commentary on technical details about the filming and shooting locationsTales from the set, including the arguments, the accidents, and the practical jokesProfiles of the actors and stories of how they were castDeleted scenes that never made the final cutGoofs and gaffes that didAnd much more Interviews with former Paramount executives, cast and crew members—from the producer to the makeup artist—and director Francis Ford Coppola round out the commentary and shed new light on everything you thought you knew about this most influential film. The more than 200 photographs from the film, from behind-the-scenes, and from the cutting room floor make this a visual feast for every Godfather fan.

    That's because, between 1970 and 1985, American Exploitation movies went berserk. With censorship relaxed, and the gate to excess wide open, horror - the Exploitation genre par excellence - offered a vibrant alternative to the mainstream of American cinema. Luridly titled wonders like The Headless Eyes, Scream Bloody Murder and Hitch Hike to Hell were everywhere, from the drive-ins of Texas to the grindhouses of New York, touting a combination of mind-bruising violence, weird sex and drug-soaked delirium. Massively popular around the world, American exploitation movies added immensely to the richness of the nation's cinema, but they have remained persona non grata in most serious studies of American film. Until now... Built on five years of research, Nightmare USA explores the development of America's subterranean horror film industry, spotlighting some of the wildest films imaginable from an era unchecked by censorship or 'good taste.' Ranging from cult favourites like I Drink Your Blood to stylish mind-benders like Messiah of Evil and ultra-violent shockers like Don't Go in the House, Nightmare USA goes where no other in-depth study has gone before, revealing the fascinating true stories behind classics and obscurities alike. Stephen Thrower, author of Beyond Terror, the definitive book on Italian gore maestro Lucio Fulci, has explored the attics and cellars of American cinema, delved beneath the floorboards, peered between the walls, searching for the strangest, most exotic cine-lifeforms... Nightmare USA is the reader's guide to what lies beyond the mainstream of American horror, dispelling the shadows to meet the men and women behind fifteen years of screen terror: the Exploitation Independents! This massive overview of the Horror genre's development through the 1970s and 1980s features: -- In-depth EXCLUSIVE interviews with twenty-five grindhouse movie makers, many of whom are discussing their work for the first time ever in print. -- Over 175 individual films reviewed, with full cast and crew credits compiled by world-renowned cinema archivist Julian Grainger. -- Vast quantities of previously unpublished stills, posters, press-books, plus behind-the-scenes photographs from the filmmakers' own collections.

    Their goal: create a computer animated feature, despite predictions that it could never be done. An unprecedented catalog of blockbuster films later, the studio is honoring its history in this deluxe volume. From its fledgling days under George Lucas to ten demanding years creating Toy Story to the merger with Disney, each milestone is vibrantly detailed. Interviews with Pixar directors, producers, animators, voice talent, and industry insiders, as well as concept art, storyboards, and snapshots illuminate a history that is both definitive and enthralling.

    You'll learn how to structure your visuals as carefully as a writer structures a story or a composer structures music. Understanding visual structure allows you to communicate moods and emotions, and most importantly, reveals the critical relationship between story structure and visual structure.The Visual Story offers a clear view of the relationship between the story/script structure and the visual structure of a film, video, or multimedia work. An understanding of the visual components will serve as the guide to strengthening the overall story. 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. Bruce Block has the production credentials to write this definitive guide. His expertise is in demand, and he gives seminars at the American Film Institute, PIXAR Studios, Walt Disney Feature and Television Animation, Dreamworks Animation, Nickelodeon Animation Studios, Industrial Light & Magic and a variety of film schools in Europe.The concepts in this book will benefit writers, directors, photographers, production designers, art directors, and editors who are always confronted by the same visual problems that have faced every picture maker in the past, present, and future.• Now in full color!• Written by a renowned producer, visual consultant, and teacher• The material in this books applies to any kind of visual story, including films, animated pieces, video games, and television

    The first book on this legendary film figure in English, this highly visual biography details his fascinating life and career, featuring hundreds of film stills, posters, concept art, and delightful on-set photos of Tsuburaya prompting monsters to crush landmark buildings. A must-have for fans, this towering tribute also features profiles of Tsuburaya's film collaborators, details on his key films and shows (most available on DVD), and features on the enduring popularity of the characters he helped create.

    a national treasure!”Now, finally, Vern is ready to unleash his magnum opus: an in-depth study of the world's only aikido instructor turned movie star/director/writer/blues guitarist/energy drink inventor — the ass-kicking auteur Steven Seagal. From Above the Law to his Mountain Dew commercials, his entire career is covered in Vern’s inimitable style.As Vern himself puts it, Seagalogy is “a book that will shake the very foundations of film criticism, break their wrists and then throw them through a window."

    Vikar Jerome steps into the vortex of a cultural transformation: rock ’n’ roll, sex, drugs, and — far more important to him — the decline of the movie studios and the rise of the independent director. Jerome will become a film editor of astonishing vision. Then through encounters with former starlets, burglars, political guerillas, punk musicians, and veteran filmmakers, he discovers the astonishing secret that lies in every movie ever made.

    A mind-melting compilation of gonzo writing, illustration and comics about the most insane, sexy, awkward, cheesy, hilarious, upsetting and jaw-dropping movies in the history of film, Cinema Sewer joyously celebrates the sleaziest aspects of the moviegoing experience, while delving deep into bizarre cinematic history. Bougie's distinctive writing style has made him famous among a loyal following of cult film fans. Includes: •Graphic illustrations by Bougie and associates • Bizarre film trivia • 100 pages of never-before-seen interviews, rants, comics • Rare genre film ads • DIY 'zine aesthetic

    A great guide for movie watching.

    Photographs throughout.

    Foreword by Italian Horror Pioneer Riccardo Freda. This is the Complete Story of Mario Bava's life and careers as director, cameraman and special effects artist. Interviews with more than 100 actors, co-workers, friends and family members. The Definitive Study of each of his films: production histories, cast biographies, critical analysis, and video information. Never-before Published Photos including the only color shots taken on the set of BLACK SUNDAY. Original Mario Bava Storyboards - including the boards for the unfilmed project BABY KONG. Original Mario Bava Artwork - Some in Full Color! Bava's Secret Filmography: His uncredited works as director, cameraman and special effects artist. Complete Videography and Discography. Eugenio Bava (Mario's father) FilmographySoon available in ebook form!http://videowatchdog.blogspot.com/201...

    Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls ?the king of the monster hunters?). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.

    Together with cast and crew, Tarantino and Rodriguez chronicle the making of not one but two motion pictures: Quentin Tarantino's Death Proof and Robert Rodriguez's Planet Terror. Compiling never-before-seen production artwork, hundreds of behind-the-scenes photos, exclusive interviews and enough blood, flesh and gore for two books, Grindhouse: The Sleaze-Filled Saga Of An Exploitation Double Feature offers fans the definitive insider's guide to the world of Grindhouse!

    This time, Muir surveys 300 films from the 1980s. From backwards psychos (Just Before Dawn) and yuppie-baiting giant rats (Of Unknown Origin), to horror franchises like Friday the 13th and Hellraiser, as well as nearly forgotten obscurities such as The Children and The Boogens, Muir is our informative guide through 10 macabre years of silver screen terrors. Muir introduces the scope of the decade's horrors, and offers a history drawing parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.

    Spanning a period of forty years, David Lynch's widely respected films and television series include "Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway," and "Mulholland Drive," However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.

    And, like any business, there are proven strategies for success. In this unique hands-on guide, television writer and producer Ellen Sandler shares the trade secrets she learned while writing for hit shows like Everybody Loves Raymond and Coach. She offers concrete advice on everything from finding a story to getting hired on a current series.Filled with easy-to-implement exercises and practical wisdom, this ingenious how-to handbook outlines the steps for becoming a professional TV writer, starting with a winning script. Sandler explains the difference between “selling” and “telling,” form and formula, theme and plot. Discover:• A technique for breaking down a show style so you’re as close to being in the writing room as you can get without actually having a job there• The 3 elements for that essential Concept Line that you must havein order to create a story with passion and consequence• Mining the 7 Deadly Sins for fresh and original story lines• Sample scripts from hit shows• In-depth graphs, script breakdown charts, vital checkpointsalong the way, and much, much more!

    Actors always ask for notes on their performance, and they will take them from just about anyone. While people in other pursuits tend not to ask for performance ratings, actors demand them. Ron Marasco's Notes to an Actor grew out of the actor's profession-which, the author notes, is such a mysterious art. It is learned by experience, trial and error, and by succeeding and failing.

    Get the book and explore the weird world of Trick 'r Treat!Trick 'r Treat tells the story behind this personal and spooky movie, from Dougherty's initial inspiration through the development process, the painstaking production design and the roots of Halloween traditions. It celebrates the yearly ritual that we all participate in but only dimly understand, explaining why we do all the activities associated with the holiday. Michael Dougherty is a screenwriter who is known for his work on the scripts for Bryan Singer's films, including X2 and Superman Returns.  Dougherty attended the Tisch School of Arts at New York University in the Maurice Kanbar Institute of Film and Television, which is where he produced Season's Greetings (1996).  He was born and raised in Columbus, Ohio. His directorial debut, Trick 'r Treat, is based on his own script, and was produced by Bryan Singer (Superman Returns, Usual Suspects).

    A former criminal prosecutor, Clayton takes care of Kenner, Bach & Ledeen's dirtiest work at the behest of the firm's co-founder Marty Bach (Sydney Pollack). Though burned out and hardly content with his job, his divorce, a failed business venture, and mounting debt have left Clayton inextricably tied to the firm. At the agrichemical company U/North, meanwhile, the career of in-house counsel Karen Crowder (Tilda Swinton) rests on the multimillion-dollar settlement of a class action suit that Clayton's firm is leading to a seemingly successful conclusion. But when Kenner Bach's brilliant and guilt-ridden attorney Arthur Edens (Tom Wilkinson) sabotages the U/North case, Clayton faces the biggest challenge of his career and his life.The Newmarket Shooting Script® book includes the complete script, an exclusive foreword by William Goldman, a Q&A with writer/director Tony Gilroy, a color photo section, and the complete cast and crew credits.

    Equally influenced by Brian De Palma and Kathy Acker, Tupitsyn revisits the ruins of a childhood and youth nurtured on the fringe of the glittering lower Manhattan art world and the Atlantic haven of Provincetown in the 1980s. Moving fluidly through space, time, and a range of cinematic frameworks, Tupitsyn cuts through the cynical glamour and illusion of Hollywood to a soft, secret heart.Her narrator, a female loner and traveler, is caught in the maelstrom of films and images, where life is experienced through the eye of a camera lens and seen through the light on the screen. In a precise and elegant style, Beauty Talk & Monsters embraces and confronts a lineage of familiar myths and on- and off-screen cinematic excess in order to challenge the silver screen's century of power over our dreams and ideals. Intimate and intellectual, Tupitsyn's stories play with the cinema's most popular icons and images.

    Jeanine Basinger gives us an immensely entertaining look into the “star machine,” examining how, at the height of the studio system, from the 1930s to the 1950s, the studios worked to manufacture star actors and actresses. With revelatory insights and delightful asides, she shows us how the machine worked when it worked, how it failed when it didn’t, and how irrelevant it could sometimes be. She gives us the “human factor,” case studies focusing on big stars groomed into the system: the “awesomely beautiful” (and disillusioned) Tyrone Power; the seductive, disobedient Lana Turner; and a dazzling cast of others—Loretta Young, Errol Flynn, Irene Dunne, Deanna Durbin. She anatomizes their careers, showing how their fame happened, and what happened to them as a result. (Both Lana Turner and Errol Flynn, for instance, were involved in notorious court cases.) In her trenchantly observed conclusion, she explains what has become of the star machine and why the studios’ practice of “making” stars is no longer relevant. Deeply engrossing, full of energy, wit, and wisdom, The Star Machine is destined to become an invaluable part of the film canon.

    Our last hope is a spaceship, a crew of eight men and women and a device which will breathe new life into the star. But deep into their voyage, out of radio contact with Earth, the mission is starting to unravel. Soon the crew are fighting not only for their lives, but their sanity.

    Marker gave film lovers one of their most memorable experiences with La Jet�e (1962)--a time-travel montage set after a nuclear war that inspired Terry Gilliam's Twelve Monkeys (1995). His still camerawork is not as well known, but Marker has been taking photographs as long as he has been making films. Staring Back presents 200 black-and-white photographs from Marker's personal archives, taken from 1952 to 2006. Some of the photographs are related to his classic films (which include Le Jet�e, Sans Soleil, �Cuba Si!, and The Case of the Grinning Cat), others are portraits of famous faces (Simone Signoret, Akira Kurosawa), but most are pictures of people Marker has encountered as he has traveled the world (an extra who appeared in Kurosawa's Ran, a woman seen on a street in Siberia). The central section of the book contains a series of photographs documenting political protests Marker has witnessed, including the march on the Pentagon in 1967, the events of May 1968 in Paris, and the tumultuous 2006 demonstrations protesting the French government's proposed employment policies. The photographs are accompanied by several unpublished texts by Marker, including the English language text of The Case of the Grinning Cat and Marker's annotations for some of the photos. The book--which appears in conjunction with an exhibition at the Wexner Center for the Arts at The Ohio State University--also includes essays by Wexner Center curator Bill Horrigan and art historian Molly Nesbit.

    Created in full collaboration with EON Productions, producers of the James Bond movies, this illustrated celebration of the worlds most famous super-spy examines every aspect of 007s world, with information on his history, style, and tastes, along with A-Z guides to his adversaries, allies, gadgets, cars, and of course, the ever-glamorous Bond women.DK

    Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images--cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a--if not the--key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.

    Drawing on the extraordinary collection of The Library of Congress, one of the greatest repositories for silent film and memorabilia, Peter Kobel has created the definitive visual history of silent film. From its birth in the 1890s, with the earliest narrative shorts, through the brilliant full-length features of the 1920s, SILENT MOVIES captures the greatest directors and actors and their immortal films. SILENT MOVIES also looks at the technology of early film, the use of color photography, and the restoration work being spearheaded by some of Hollywood's most important directors, such as Martin Scorsese and Francis Ford Coppola. Richly illustrated from the Library of Congress's extensive collection of posters, paper prints, film stills, and memorabilia-most of which have never been in print-SILENT MOVIES is an important work of history that will also be a sought-after gift book for all lovers of film.

    Tristran Thorn vows to retrieve a fallen star and deliver it to his beloved. His quest leads over an ancient wall, into a magical realm strange beyond imagining…This stunning hardcover volume follows the storyline of the movie, with commentary & interviews with the starry cast and the crew, enchanting color photos, and beautiful, fully painted production art, the full magical screenplay and an exclusive introduction by Neil Gaiman.

    This DVD guide is specifically designed for collectors of cult, horror, exploitation, arthouse, erotic, foreign language, thriller, action, and just plain weird movies!

    Enfant terrible of American cinema, his groundbreaking entry into Hollywood with Citizen Kane propelled him to fame as a young prodigy and unfailing genius. Many studies to date have focused on this aspect of Welles, highlighting his clashes with film studios to paint a turbulent picture of an artist repressed by his producers. In this book, however, by returning to the original works and analysing the primary sources, the authors strip back the myths and rumours (many of which were created and fanned by Welles himself) to draw a realistic portrait of this most remarkable filmmaker at work. All of his works are discussed, with in depth analysis on key works and projects.

    Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema.

    It takes a lot of hard work before an actor even gets a part. A career is apt to be short-lived. The field is incredibly competitive. Cream does not always rise to the top. And yet actors young and old line up by the thousands wanting to do it. What fuels this desire? What is it that drives actors to withstand the frustration of not getting parts, of getting bad parts in bad plays, of being mistreated by directors, misundertood by audiences, misinterpreted by critics?With a nod to the Paris Review's Writers at Work model, Actors at Work looks at the way some of our most respected stage and film actors today approach their calling. In a collection of interviews with a dozen artists, including Philip Seymour Hoffman, Patti LuPone, and Billy Crudup, the book explores not only the impetus to perform but also key topics about the process and profession, including the way actors approach a role, what techniques they use to deal with directors and other cast members, the ways in which they use their own personal lives in their work, and their influences, idols, and insecurities. The result is a book that actors will find indispensable and fans will find irresistible.

    Relive the epic '80s movie staple of greed, success and excess! IDW presents this special printing of Oliver Stone's notorious screenplay, telling the story of Tony Montana and his grab for ultimate power in cocaine-obsessed Miami.

    Drawing on Gilles Deleuze’s notion of “the cinematic”—not just as a phenomenon confined to moving-image media such as film and television but as a set of processes involved in the production and reproduction of social reality itself —Keeling describes how the cinematic structures racism, homophobia, and misogyny, and, in the process, denies viewers access to certain images and ways of knowing. She theorizes the black femme as a figure who, even when not explicitly represented within hegemonic cinematic formulations of raced and gendered subjectivities, nonetheless haunts those representations, threatening to disrupt them by making alternative social arrangements visible.Keeling draws on the thought of Frantz Fanon, Angela Davis, Karl Marx, Antonio Gramsci, and others in addition to Deleuze. She pursues the elusive figure of the black femme through Haile Gerima’s film Sankofa, images of women in the Black Panther Party, Pam Grier’s roles in the blaxploitation films of the early 1970s, F. Gary Gray’s film Set It Off, and Kasi Lemmons’s Eve’s Bayou.

     Every fan will want to own this officially licensed, completely fascinating anthology of memorable words from the film.  It features a great selection of famous quotes from the “Family,” from the Don’s unforgettable “I’m gonna make him an offer he can’t refuse” to Clemenza’s infamous, “Leave the gun. Take the cannolis.”  Every sharp and witty line will bring back a memory of this great movie—and that makes it a perfect gift for every Godfather aficionado.  Who would dare to resist? TM and © 2007 Paramount Pictures. All rights reserved.

    His elaborate sets, careful camerawork, and risky pratfalls have been mimicked by film comedians for generations. His short films, including One Week and Cops, and his feature-length comedies, such as Sherlock Jr., Go West, and The General, routinely appear on critics' lists of the greatest films of all time. Buster Keaton: Interviews collects interviews from the beginning of his career in the 1920s to the year before his death. The pieces here provide a critical perspective on his acting and cinematic techniques. Although the collection begins in the 1920s, at the height of Keaton's career, they also give insight on his work in Hollywood and television throughout the 1950s and 1960s. Including pieces by Studs Terkel and Rex Reed, as well as a French interview that has never before appeared in English, the book is a valuable resource on one of cinema's early geniuses. Kevin W. Sweeney is associate professor of philosophy at the University of Tampa.

    "The Cult Film Reader" is an authoritative text that should be of value to any student or researcher interested in challenging and transgressive cinema that pushes the boundaries of conventional cinema and film studies." Science Fiction Film and Television ""A really impressive and comprehensive collection of the key writings in the field. The editors have done a terrific job in drawing together the various traditions and providing a clear sense of this rich and rewarding scholarly terrain. This collection is as wild and diverse as the films that it covers. Fascinating." Mark Jancovich, Professor of Film and Television Studies, University of East Anglia, UK"It's about time the lunatic fans and loyal theorists of cult movies were treated to a book they can call their own. The effort and knowledge contained in "The Cult Film Reader" will satisfy even the most ravenous zombie's desire for detail and insight. This book will gnaw, scratch and infect you just like the cult films themselves." Brett Sullivan, Director of Ginger Snaps Unleashed and The Chair""The Cult Film Reader" is a great film text book and a fun read." John Landis, Director of The Blues Brothers, An American Werewolf in London and Michael Jackson's Thriller"""Excellent overview of the subject, and a comprehensive collection of significant scholarship in the field of cult film. Very impressive and long overdue."" " Steven Rawle, York St John University, UK"Whether defined by horror, kung-fu, sci-fi, sexploitation, kitsch musical or 'weird world cinema', cult movies and their global followings are emerging as a distinct subject of film and media theory, dedicated to dissecting the world's unruliest images.This book is the world's first reader on cult film. It brings together key works in the field on the structure, form, status, and reception of cult cinema traditions. Including work from key established scholars in the field such as Umberto Eco, Janet Staiger, Jeffrey Sconce, Henry Jenkins, and Barry Keith Grant, as well as new perspectives on the gradually developing canon of cult cinema, the book not only presents an overview of ways in which cult cinema can be approached, it also re-assesses the methods used to study the cult text and its audiences.With editors' introductions to the volume and to each section, the book is divided into four clear thematic areas of study - The Conceptions of Cult; Cult Case Studies; National and International Cults; and Cult Consumption - to provide an accessible overview of the topic. It also contains an extensive bibliography for further related readings.Written in a lively and accessible style, "The Cult Film Reader" dissects some of biggest trends, icons, auteurs and periods of global cult film production. Films discussed include "Casablanca," "The Rocky Horror Picture Show," "Eraserhead," "The Texas Chainsaw Massacre," "Showgirls" and "Ginger Snaps.""Essays by: Jinsoo An; Jane Arthurs; Bruce Austin; Martin Barker; Walter Benjamin; Harry Benshoff; Pierre Bourdieu; Noel Carroll; Steve Chibnall; Umberto Eco; Nezih Erdogan; Welch Everman; John Fiske; Barry Keith Grant; Joan Hawkins; Gary Hentzi; Matt Hills; Ramaswami Harindranath; J.Hoberman; Leon Hunt; I.Q. Hunter; Mark Jancovich; Henry Jenkins; Anne Jerslev; Siegfried Kracauer; Gina Marchetti; Tom Mes; Gary Needham; Sheila J. Nayar; Annalee Newitz; Lawrence O'Toole; Harry Allan Potamkin; Jonathan Rosenbaum; Andrew Ross; David Sanjek; Eric Schaefer; Steven Jay Schneider; Jeffrey Sconce; Janet Staiger; J.P. Telotte; Parker Tyler; Jean Vigo; Harmony Wu

    

    Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.

    Theirs is a ridiculously dependent friendship—but now they've gotten into different colleges and are forced to contemplate life apart. Evan (Michael Cera) is sweet, smart, and generally terrified. Seth (Jonah Hill) is foul-mouthed, volatile, and all-consumed with the topic of human sexuality. They are joined by their nerdy pal Fogell (Christopher Mintz-Plasse), whose fake ID as "McLovin" sets everything into motion. This is the story of their misguided attempts to reverse a lifelong losing streak with the ladies in one panic-driven night . . . that awful, humiliating night you cherish for the rest of your life.Exclusive to this must-have companion book:Introduction by producer Judd Apatow"Mr. Vagtastic's Guide to Buying Porn"Hilarious captioned drawings by David GoldbergThe film's complete scriptFull cast and crew creditsAlso included is a section of commentaries and reviews from:Rolling Stone (Peter Travers)New York magazine (David Edelstein)Entertainment Weekly (Josh Rottenberg)The New York Times (Michael Cieply)

    This greatly expanded new edition is, like the original, written in a graceful, penetrating and absorbingly readable style.

    With its pulse-pounding action, electric dialogue, and hardcore thrills, Death Proof recharges the exploitation film genre and drives it straight into the 21st century. Jungle Julia is the hottest DJ in Austin. Ready for a night out, Jungle Julia and her girls turn heads all over Austin until they settle at Huck's, the coolest dive in town. There they meet Stuntman Mike, an aging rebel with a badass muscle car, a silver jacket, and a long scar on his face. The girls drink and dance the night away as Mike sits at the bar and watches. But Stuntman Mike is no innocent drifter. He has a secret weapon--and it's parked outside.

    This study tells the extraordinary story of the film from initial reception to eventual cult status. Uncovering the film's non-conformist sexual politics and glam-rock attitude, this volume explores its emphasis on the theatrical body (tattooed, cross-gendered, flamboyant), and its defiant queering of cinema history.

    1029218 Features: -Category: Print Music.-Format: Book.-Composer: Danny Elfman.-Instrumentation: Piano / Vocal / Chords.-Song List (contributor): Tears to Shed [Danny Elfman (composer); John August (lyricist)]; According to Plan (from ''Corpse Bride'') [Danny Elfman (composer); John August (lyricist)]; Ball and Socket Lounge Music #1 (from ''Corpse Bride'') [Danny Elfman (composer)]; Ball and Socket Lounge Music #2 (from ''Corpse Bride'') [Danny Elfman (composer)]; Corpse Bride (Main Title) [Danny Elfman (composer)]; Remains of the Day (from ''Corpse Bride'') [Danny Elfman (composer); John August (lyricist)]; Remains of the Day (from ''Corpse Bride'') (Combo Lounge Version) [Danny Elfman (composer)]; The Piano Duet (from ''Corpse Bride'') [Danny Elfman (composer)]; The Wedding Song (from ''Corpse Bride'') [Danny Elfman (composer)]; Victor's Piano Solo (from ''Corpse Bride'') [Danny Elfman (composer)].-64 pages.-Genre: Movie.

    But over the past nine years the movie has developed a massive and passionate cult following, led by the creation of Lebowski Fest, a traveling festival of all things Lebowski. Held in a bowling alley, it features bowling, costume and trivia contests, live music, a screening of the movie, White Russians, and what-haveyou. Attendance has grown exponentially and the Fest has been featured in virtually every national media outlet, from NPR to the New York Times. The Associated Press called it "kind of a 'Star Trek' convention, but without all the geeks." The Wall Street Journal simply intoned: "One hell of a party!" Now, at last, comes the book that the legion of Lebowski fans (aka Achievers) has been waiting for. I'm a Lebowski, You're a Lebowski is a treasure trove of trivia and commentary, hilarious throughout and copiously illustrated, including stills from the film, as well as dozens of photos taken on the set by Jeff Bridges. It includes interviews with virtually every major and minor cast member, as well as the real-life individuals who served as inspiration for the characters in the movie. The book features a handy guide to speaking Achiever (example: in English you would say that a woman is "feminine, or ladylike"; an Achiever would call her "strongly vaginal"), tips on how to Dude-ify your car, office, and living space, Lebowski Fest highlights, and so much more.

    Discovering Orson Welles collects Rosenbaum's writings to date on Welles—some thirty-five years of them—and makes an irrefutable case for the seriousness of his work, illuminating both Welles the artist and Welles the man. The book is also a chronicle of Rosenbaum's highly personal writer's journey and his efforts to arrive at the truth. The essays, interviews, and reviews are arranged chronologically and are accompanied by commentary that updates the scholarship. Highlights include Rosenbaum's 1972 interview with Welles about his first Hollywood project, Heart of Darkness; Rosenbaum's rebuttal to Pauline Kael's famous essay "Raising Kane"; detailed essays and comprehensive discussions of Welles's major unfinished work, including two unrealized projects, The Big Brass Ring and The Cradle Will Rock; and an account of Rosenbaum's work as consultant on the 1998 re-editing of Touch of Evil, based on a studio memo by Welles.

    "In Control" is his visual diary of the making of the film, with handwritten notations, drawings, and a wealth of photographs detailing the creative process from pre-production to first screenings.IN CONTROL is the story of the making of CONTROL as captured by its director

    Nick makes his living defending the rights of smokers and cigarette makers. Confronted by health zealots out to ban tobacco and an opportunistic senator who wants to put poison labels on cigarette packs, Nick goes on a PR offensive, spinning away the dangers of cigarettes on TV talk shows and enlisting a Hollywood super-agent to promote smoking in movies.Nick's newfound notoriety attracts the attention of both tobacco's head honcho and an investigative reporter for an influential Washington daily. Nick says he is just doing what it takes to pay the mortgage, but the increased scrutiny of his son and a very real death threat may force him to think differently.Thank You for Smoking features an all star cast including Aaron Eckhart, Maria Bello, Cameron Bright, Adam Brody, Sam Elliott, Katie Holmes, David Koechner, Rob Lowe, William H. Macy, J.K. Simmons, and Robert Duvall. The Newmarket Shooting Script® book includes the screenplay and introduction by Jason Reitman, a foreword by Christopher Buckley, production notes, a section of 23 color photos, and the complete cast and crew credits.

    Ty Burr has come up with a winning prescription for children brought up on Hollywood junk food. FOR THE LITTLE ONES (Ages 3—6): Fast-paced movies that are simple without being unsophisticated, plainspoken without being dumbed down. Singin’ in the Rain and Bringing Up Baby are perfect.FOR THE ONES IN BETWEEN (Ages 7—12): “Killer stories,” placing easily grasped characters in situations that start simply and then throw curveballs. The African Queen and Some Like It Hot do the job well.FOR THE OLDER ONES (Ages 13+): Burr recommends relating old movies to teens’ contemporary favorites: without Hitchcock, there could be no The Texas Chainsaw Massacre, without Brando, no Johnny Depp.

    His followers included some of the celebrated art historians of the twentieth century such as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the decipherment and interpretation of symbolic material. As Philippe-Alain Michaud demonstrates in this important book, Warburg's project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Friedrich Nietzsche and Jacob Burckhardt, Warburg fashioned a "critical iconology" to reveal the irrationality of the image in Western culture.Opposing the grand teleological narratives of art inaugurated by Giorgio Vasari, Warburg's method operated through historical anachronisms and discontinuities. Using procedures of "montage-collision" he brought together pagan artifacts with masterpieces of Florentine Renaissance art, the astrology of the ancient Near East with the Lutheran Reformation, Mannerist festivals with the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was not only the recognition of the radical heterogeneity of objects but the discovery within the art work itself of lines of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism.Michaud provides us with a book that not only is about Warburg but also extends his intuitions and discoveries into analyses of other categories of imagery like the daguerreotype, the chronophotography of Etienne-Jules Marey, early cinema, and the dances of Lo�e Fuller. This edition also includes a foreword by Georges Didi-Huberman and texts by Warburg not previously translated into English.

    This critical survey lists films, with credits, plot synopsis and critical commentary included for each.

    In this new book, his first update, Perret offers readers a treasure trove of guidelines and suggestions covering a broad range of comedy writing situations, along with many all-important insights into the selling of one's work. Perret covers all aspects of comedy writing in his uniquely knowledgeable and anecdotal fashion.

    Historically film scholars have located the gaze on the side of the spectator; however, Todd McGowan positions it within the filmic image, where it has the radical potential to disrupt the spectator's sense of identity and challenge the foundations of ideology. This book demonstrates several distinct cinematic forms that vary in terms of how the gaze functions within the films. Through a detailed investigation of directors such as Orson Welles, Claire Denis, Stanley Kubrick, Spike Lee, Federico Fellini, Ron Howard, Steven Spielberg, Andrei Tarkovsky, Wim Wenders, and David Lynch, McGowan explores the political, cultural, and existential ramifications of these differing roles of the gaze.

    Fans of the genre will enjoy a history of the art form and interviews with industry insiders and award-winning filmmakers who contribute their tips, tricks, and advice. Aspiring filmmakers will find advice covering the whole production process—from developing a concept to marketing and distribution. Details on the full range of current film festivals are also included.

    Acclaimed Hammer expert Wayne Kinsey has gained exclusive access to production files and censor reports, and has conducted numerous interviews.

    It is based around an interview that was to be the starting point for a book, a project cut short by Daney's death. Postcards turns a history of cinema into a profound meditation on the art and politics of film. Daney's passionate and lucid engagement with film, combined with his concern for journalistic clarity, effectively created film criticism as a genre. Equally at home with the theories of Deleuze, Lacan and Debord as he was with the movie-making of Bunuel, Godard and Ray, Daney was also a fan of Jerry Lewis and Hitchcock. At the same time - and before his time - he championed the critical analysis of television and other audio-visual media. Long-awaited, this is the first book-length translation of Daney's work, testimony to a life lived with a fierce love of film.

    This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema. The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented. Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director’s cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry’s technological and aesthetic advancements with sound. Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.

    The first German novel to adopt the technique of James Joyce, it tells the story of ex-con Franz Biberkopf. Struggling to survive among the poverty, unemployment, crime, and burgeoning Nazism of 1920s Germany, fate teases him with a little pleasure before cruelly turning him in. In 1980, Rainer Werner Fassbinder, the genius of New German Cinema, adapted Doblin's novel into a legendary and controversial TV series starring Hanna Schygulla, Barbara Sukowa, and others. Presented in its re-mastered movie version at the 2007 Berlin film festival to unanimous acclaim, it will be on view in an international travelling exhibition. This book features over 500 color film stills from the series, the complete script, and essays by Rainer Werner Fassbinder, Susan Sontag, and exhibition curator Klaus Biesenbach.

    . . . This is, I think, a special way of being in contact with reality.” Or so says Michelangelo Antonioni, the legendary filmmaker behind the stark landscapes and social alienation of Blow-Up and L’Avventura, who here reveals his idiosyncratic relationship with reality in The Architecture of Vision. Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling volume explores the director’s unique brand of narrative-defying cinema as well as the motivations and anxieties of the man behind the camera. “The Architecture of Vision provides a filmmaker’s absorbing reflections and insights on his career. . . . Antonioni’s comments . . . deepen and humanize a sometimes cerebral book.”—Publishers Weekly “[Antonioni’s] erudition is astonishing . . . few of his peers can match his verbal articulateness.”—Film Quarterly “This valuable resource offers entrée to material difficult to gain access to under other circumstances.”—Library Journal

    In the perfect companion piece to his first book, Snyder delivers even more insider's information gleaned from a 20-year track record as ?one of Hollywood's most successful spec screenwriters, ? giving you the clues to write your movie. Designed for screenwriters, novelists, and movie fans, this book gives readers the key breakdowns of the 50 most instructional movies from the past 30 years. From M*A*S*H to Crash, from Alien to Saw, from 10 to Eternal Sunshine of the Spotless Mind, Snyder reveals how screenwriters who came before you tackled the same challenges you are facing with the film you want to write ? or the one you are currently working on.

    In this groundbreaking book, experienced filmographer and CGI artist Isaac Botkin prepares Christians for successful Christ-honoring leadership as writers, directors, and producers.

    Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.

    This newly revised edition of the American Cinematographer Film Manual, edited by Stephen Burum, ASC, continues to be the standard, providing fully updated, comprehensive coverage of cinematography from production to post.

    Cassavetes laid out his expectations. He wanted "a daring book, a tough book". In Ventura’s words, "All I had to do for ‘daring’ and ‘tough’ was transcribe this man’s audacity day by day." Full of insight into not only the filmmaker but his actors and his Hollywood peers, the resulting book describes the creation of Love Streams shot by shot, crisis by crisis. During production, the director learned that he was seriously ill, that this film might, as it tragically turned out, be his last. Starring alongside actress and wife Gena Rowlands, Cassavetes shot in sequence, reconceiving and revising his film almost nightly, in order that Love Streams could stand as his final statement. Both an intimate portrait of the man and an insight into his unique filmmaking philosophy, this important text for all movie lovers and film historians documents a heroic moment in the life of a great artist.

    In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens. Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first ?talkies, ? albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. Film entries include: ? Synopsis ? Film stills and production photos ? Cast/crew listings ? Trivia ? Useful information on technical stuff ? Actor and director bios

    Addressing questions of trust and authority that plague our information-addled society, the series acquired a large fan base of individuals interested in debating and interpreting the philosophical themes that underlie the symbiotic partnership between Mulder and Scully. The Philosophy of The X-Files concentrates not only on the philosophical assumptions and presuppositions of the show but also on how the episodes portray the process of philosophical inquiry. Editor Dean A. Kowalski argues that both philosophy and The X-Files center around a determination to search for truth despite a frequent lack of information and proper tools. It is no surprise, then, to find the series riddled with common philosophical themes, including metaphysics, epistemology, ethics, political philosophy, aesthetics, and existentialism, among others. The first section of the book addresses the credos put forth by the series and examines the philosophical significance of its three popular slogans: "The truth is out there," "Trust no one," and "I want to believe." In the second section, contributors analyze the philosophical underpinnings of the characters of Mulder, Scully, the Cigarette Smoking Man, and Assistant Director Walter Skinner. A final section is devoted to individual episodes and engages with the philosophical issues raised by "Clyde Bruckman's Final Repose" and "Jose Chung's 'From Outer Space, '" in addition to the 1998 film The X-Files: Fight the Future. Two appendixes offer a summary of the main storyline and brief plot summaries of each television episode together with the philosophical issues it raises. The first collection of philosophical essays devoted exclusively to the show, The Philosophy of The X-Files shows a television series successfully engaged with the philosophical quandaries of the modern world and explores how Mulder and Scully's personalities and actions invite inquiry into patterns of human belief and behavior.

    This book includes essential and detailed information on relevant film and digital video tools, a thorough overview of the filmmaking stages, and the aesthetic considerations for telling a visual story. The ultimate goal of this book is to help you develop your creative voice while acquiring the solid practical skills and confidence to use it. Unlike many books that privilege raw technical information or the line-producing aspects of production, Voice & Vision places creativity, visual expression, and cinematic ideas front and center. After all, every practical decision a filmmaker makes, like choosing a location, an actor, a film stock, a focal length, a lighting set-up, an edit point, or a sound effect is also an expressive one and should serve the filmmaker's vision. Every decision, from the largest conceptual choices to the smallest practical solutions, has a profound impact on what appears on the screen and how it moves an audience. "In Practice" sidebars throughout connect conceptual, aesthetic and technical issues to their application in the real world. Some provide a brief analysis of a scene or technique from easily rentable films which illustrate how a specific technology or process is used to support a conceptual, narrative, or aesthetic choice. Others recount common production challenges encountered on real student and professional shoots which will inspire you to be innovative and resourceful when you are solving your own filmmaking challenges.INSTRUCTORS: Visit the companion website (www.voiceandvisionbook.com) for a link to additional teaching resources.

    All of his pictures, including his comedies, deal seriously with faith, morality, and mortality, but audiences and critics too often neglect the extraordinary wit and vitality that can be found in Wild Strawberries, Scenes from a Marriage, Fanny and Alexander, and many others.In Ingmar Bergman: Interviews, the director discusses various stages of his career and the many facets of his work. The man and his films are revealed to be funny, full of life, and surprising as well as thoughtful, complex, and profound. In interviews with important writers, critics, and filmmakers, including James Baldwin, Michiko Kakutani, John Simon, and Vilgot Sjoman, Bergman describes a grand vision that justifies his affinity with Shakespeare, Ibsen, and Dostoyevsky. The volume begins with a 1957 piece, conducted just as he completed his early masterpiece The Seventh Seal, and ends in 2002, as he was preparing to direct Saraband, his latest film.Raphael Shargel is associate professor of English at Providence College, where he teaches literature and film. From 1997 to 2006, he was film critic for the New Leader. He has also written about film for MSNBC.com and reviewed movies on local radio.

    Chaplin began the film in 1927, even before the release of The Circus, just months after a highly publicized divorce from his second wife and a tax dispute with the U.S. government, both of which cost him dearly. In addition, Chaplin's mother, with whom he had a close and complex relationship, died in August 1928. Besides the burden of these financial and emotional strains, Chaplin also had to contend with the transition of the American film industry to the talkies and the downward spiral of the depression following the Stock Market Crash in October 1929. He chose a novice actress, Virginia Cherrill, as the female lead for the film, and during production he fired the man originally cast as the millionaire and fired, then re-hired, Cherrill. Yet he pressed forward, releasing the film to much acclaim and box-office success in the first two months of 1931. Aesthetically, technologically, and culturally, City Lights is a key transitional film in Chaplin's body of work, as the director/writer/actor responded for the first time to sound films and stepped in the direction of the social commentary that would become more overt in Modern Times (1936) and The Great Dictator (1940). Based on extensive archival research of Chaplin's production records, Charles Maland's City Lights offers a careful history of the film's production and reception, as well as a close examination of the film itself, with special attention to the sources of the final scene's emotional power.

    Each essay explores the short story, the film, and the sociocultural phenomenon that followed the release of the motion picture in December 2005. This anthology includes selections from traditional perspectives and from postmodern angles, including women's studies, gender studies, queer studies, sexuality studies, ethnic studies, and American studies. Many of the essays focus primarily on the film, its critical reception, its stars, its director, its soundtrack, and its cultural implications.

    Through revealing, behind-the-scenes anecdotes and practical exercises, the veteran character actor guides readers through his unique, direct approach to recognizing and understanding human behavior, leading actors to discover and demonstrate the specific, individual humanity in every character. The broad scope of Hoffman's experiences has given him a special perspective that simplifies, demystifies and illustrates, in specific and easily understandable terms, the acting experience, not in theory, but as it is practiced at the highest levels of the industry. Includes: 100 specific questions and answers from Hoffman's acting classes * Fifteen production photographs of Hoffman's work in scenes from select films and plays.

    Drawing from extensive conversations with men and women crucial to Canyon Cinema, from its newsletter Canyon Cinemanews, and from other key sources, MacDonald offers a lively chronicle of the life and times of this influential, idiosyncratic film exhibition and distribution collective. His book features many primary documents that are as engaging and relevant now as they were when originally published, including essays, poetry, experimental writing, and drawings.

    This beautifully produced, gem-like volume collects his extremely evocative and personal Polaroids, most of which feature his family and their most cherished settings-at home and in nature. Edited by Stephen Gill, who also contributes a text, this volume contains essays by leading critics; poems by Arseniy Tarkovsky; a text by Andrey A. Tarkovsky, his son; Andrey Tarkovsky's own essay on photography; and a series of intimate Tarkovsky family photographs made during the 1930s by the Moscow poet Lev Gornung. In his text, Gill writes, "The images seem to dance between reality, the very being of their subject, and the photographer's feeling for them. These images are descriptive documents, but they also speak for themselves, conveying something of Tarkovsky's emotions. Tarkovsky's photographs are wonderfully measured; his feet seem to be firmly on the ground, and yet he leaves space for his subjects to breathe, so he does not mute the essence."

    Calling upon decades of experience from having worked on both sides of the camera, this study provides a behind-the-scenes glimpse of a child-actor’s life in Hollywood during the Golden Age of motion pictures while chronicling the development of two ground-breaking workshops for teaching dramatic art. A brief but comprehensive survey of the history of acting in the Western theater is also included.

    ?Nicolas Winding Refn Cinema Now examines the work and key themes of 60 filmmakers working around the world today, from the cream of the crop of young Hollywood to the new wave of Asian mavericks to burgeoning auteurs from Europe and Latin America. Watch Pedro Almod?var at work. Immerse yourself in the stunning imagery of Wong Kar-Wai. Feel the emotional impact of the films of Alejandro Gonz?lez I??rritu and Carlos Reygadas. Live in the strange worlds of Guy Maddin, Matthew Barney, and Tsai Ming-Liang. Cinema Now is packed with stunning full-color photos and exclusive on-set photography supplied by the filmmakers, and even comes with a supplementary DVD containing exclusive short films, extracts, trailers, and much more. The following filmmakers are confirmed: Fatih Akin, Pedro Almod?var, Andrea Arnold, Darren Aronofsky, Jacques Audiard, Siddiq Barmak, Matthew Barney, Bong Joon-Ho, Catherine Breillat, Craig Brewer, Laurent Cantet, Nuri Bilge Ceylan, Stephen Chow, Sofia Coppola, Alfonso Cuar?n, Jean-Pierre and Luc Dardenne, Guillermo del Toro, Marc Dornford-May, Bruno Dumont, Atom Egoyan, Paul Greengrass, Alejandro Gonz?lez I??rritu, Lucile Hadzihalilovic, Michael Haneke, Mary Harron, Todd Haynes, Hou Hsiao-Hsien, Spike Jonze, Miranda July, Lodge Kerrigan, Kim Ki-Duk, Guy Maddin, Terrence Malick, Michael Mann, Neil Marshall, Lucrecia Martel, Fernando Meirelles, John Cameron Mitchell, Lukas Moodysson, Anders Morgenthaler, Christopher Nolan, Gy?rgy P?lfy, ParkChan-Wook, Alexander Payne, Cristi Puiu, Pen-ek Ratanaruang, Carlos Reygadas, Jo?o Pedro Rodrigues, Robert Rodriguez, Pavel Ruminov, David O. Russell, Cate Shortland, Jonny To, Tsai Ming-Liang, Tom Tykwer, Gus Van Sant, Apichatpong Weerasethakul, Nicolas Winding Refn, Wong Kar-Wai, Zhang Yimou

    Alejandro Jodorowsky remains one of cinema’s most controversial and influential film-makers. In 1968 his scandalous debut, Fando & Lis, caused a riot in Mexico, forcing the Chilean-born director into exile in France. The following year, his ultra-violent underground smash hit El Topo inagurated the Midnight Movie phenomenon, transforming its creator into a counter-culture icon championed by John Lennon and, latterly, Marilyn Manson. Anarchy and Alchemy features • Exclusive interviews • Rare images • Exhaustive chapters on all Jodorowsky’s films including the mesmerising cine-trip The Holy Mountain, the award-winning Oedipal circus show Santa Sangre • The aborted Dune project with Salvador Dali, Pink Floyd and H R Giger • Texts on Jodorowsky’s 60s terror-theatre outfit The Panic Movement • His world mime tour with Marcel Marceau • His graphic novel collaborations with Moebius

    His sharp, informed analyses and cogent assessments of cinema and its practitioners have made him a significant voice both in America and internationally. Jones' inaugural collection brings together the best of his reviews (on films including In the Mood for Love, A History of Violence, and The New World), evaluations of specific filmmakers (Wes Anderson, John Cassavetes, and the Coen brothers), polemics (on summer blockbusters, digital cinema, and Hollywood politics), and appreciations of other film critics. Several of these pieces are published here in English for the first time, having previously appeared only in the French journals Cahiers du Cin�ma and Trafic. Physical Evidence is a penetrating and personal examination of contemporary and classic cinema, one that values nothing so much as seeing on the screen the proof--the physical evidence--of the filmmaker's own personal quest.

    Pepper's Lonely Hearts Club Band" (Peter Blake) and "The Velvet Underground and Nico" (Andy Warhol) announced that musical collaboration with Pop artists was here to stay. It moves on to the artist-muse relationship, with attention to Robert Mapplethorpe and Patti Smith, who lead to Punk, New Wave and the artists of the East Village. In the 1980s, art-school musicians like the Talking Heads and Sonic Youth fused the primitive energies of rock with the intellectual refinements of art school, emerging with a unified aesthetic just as videos were raising the importance of the visual. Today, videos and art of all kinds continue to create and influence the market for music, and collaborations are thriving, from schoolmates Damien Hirst and Blur to partners Bjork and Matthew Barney and ur-hipsters Beck and Marcel Dzama. "Sound & Vision" observes the fertile mixing of photography, painting, music and video, a node of interdisciplinary connections that has slowly become a major influence in the historical development of both pop music and visual arts. Includes works from Keith Haring, Julian Schnabel, Raymond Pettibon, Damien Hirst, Mike Kelley and Matthew Barney, among others.

    Miller.--Roger Ebert in The Great MoviesWhen he died in 2006, director Robert Altman left a rich legacy of films, from MASH, his breakthrough black comedy, through masterpieces like Nashville, Short Cuts, and Gosford Park. But many would agree that his crowning achievement was McCabe & Mrs. Miller, a daring downbeat film about a gambler and a prostitute. Robert Self now provides an illuminating new look at this long neglected classic.A snowbound version of High Noon, Altman's film has been described as a revisionist western, an antiwestern, and even a hippie western. Featuring cinematic icons Warren Beatty and Julie Christie at the zenith of their careers and a haunting soundtrack from legendary troubadour Leonard Cohen, it provided a new way of looking at the western and the West.Placing the film within the contexts of Altman's career, its critical and popular reception, and the history of American cinema, Self shows how Altman's idiosyncratic interplay between story and style reframed the American West for a new generation. Viewing McCabe as a kind of precursor to the New Western History, he argues that it both embraces and revises the conventions associated with the Western movie genre, especially with its antiheroic protagonist. He also highlights the film's portrayal of the contemporary counterculture, pitting the loner against corporate power and mainstream religion and granting women a newfound voice.In addition, Self sheds light on the film's production, showing how its rare sequential filming reflected the seamless collaborative efforts of director, actors, cinematographer, and set designer. Here, too, are Altman's trademark overlapping dialogue, painterly visuals, signature pan and zoom shots, crowded and communal mise-en-scenes, and a musical soundtrack mirroring the narrative--all in the service of Altman's inimitable storytelling and indelible gallery of fascinating characters. Self's beautifully written, admiring, and insightful study of this great film should significantly enhance its reputation and reinforce Altman's place in the pantheon of American filmmakers.

    The 2008 edition will feature more than 18,000 entries, and updated indexes of leading performers.

    

    You took the class because Bill's students are reputed to get jobs in television and movies more consistently than those who have come from other classes in the country. Bill is now ready to begin the first session, and you will experience his course from beginning to end, and the rest is up to you. Learn how to write for television from someone who really did it. Bill has written for Get Smart, The Flintstones, MASH, Happy Days, The Bob Newhart Show, The Andy Griffith Show, and many more. Two sample scripts from The Andy Griffith Show and Get Smart round out your lessons! 184 pages. Illustrated. 2007. Paperback. Appendices include two sample television scripts. KEYWORDS Bill Idelson, writing for television radio and new media, writing for television series serials & soaps writing for television news, writing for television radio and new media, writing for television series serials & soaps, television writing, screenwriting, script writing, comedy writing, television, television history, television comedy, television comedy writing, Get Smart, Don Adams, The Flintstones, MASH, Alan Alda, Happy Days, The Bob Newhart Show, The Andy Griffith Show,

    With clear insight and without academic jargon, Jacoby examines the works of over 150 filmmakers to uncover what makes their films worth watching.Included are artistic profiles of everyone from Yutaka Abe to Isao Yukisada, including masters like Kinji Fukasaku, Juzo Itami, Akira Kurosawa, Takashi Miike, Kenji Mizoguchi, Yasujiro Ozu, and Yoji Yamada. Each entry includes a critical summary and filmography, making this book an essential reference and guide.UK-based Alexander Jacoby is a writer and researcher on Japanese film.

    Bringing together the creative talents of Harry Watt, Basil Wright, WH Auden and Benjamin Britten, the film gave John Griersona's documentary school its first popular success. Its collectivist politics and its peculiarly modest brand of modernism is as redolent of the inter-war age as Agatha Christie, Penguin Books or The Shell Guides. But it was also a corporate promo, part of a publicity campaign initiated by Clement Attlee to stave off Post Office part-privatisation and to improve the morale of postal workers. Scott Anthonya's study provides a lively appreciation of this vivid, witty and often just plain eccentric masterpiece. In doing so he uncovers the remarkable stories of civic-minded idealism, creative intrigue and political trickery that underpin this classic documentary.

    Griffith, Howard Hawks, Lev Kulsehov, Sergei Eisenstein and Alfred Hitchcock. It offers new and fascinating perspectives on mise en scène, framing, shots, and narrative variation. In combining the sensitive analysis of film forms and structures with an awareness of their historical and artistic relation to other art forms, it also elucidates an appreciation of montage aesthetics that is attentive to the influences of photography, painting and other arts.

    James Dean? A 1949 Mercury in Rebel Without a Cause. But what did they choose to drive away from their most famous film roles? Stars and Cars collects together in one beautifully produced volume stunning photographs of some of the most famous stars of the 20th century, with the cars they loved. With authoritative, fact-filled captions from Nick Benwell (Christie's London Consultant for Motor Cars), Stars And Cars will quite simply be one of the coolest, must-have gift books of the year. Images include: Charlie Chaplin with his c.1925 Minerva; Clark Gable and his fabulous 1935 Duesenberg SJ; James Dean with his beautiful Porsche Spyder; Audrey Hepburn with a Ferrari 250 PF in Rome, 1961; Sean Connery and his Porsche 356; and Clint Eastwood with his Ferrari 275 GTB.

    Several of them are excellent and useful books. But never - until now - has there been a screenwriting manual written in the form of a screenplay. Our hero, the aspiring screenwriter Danny, is hopelessly in love with Bebe, a hot young starlet. But Bebe won't go out with Danny until he proves that he can write a brilliant screenplay for her. Helped along the way by a mysterious guide (Virgil) with seemingly magical powers, Danny travels to Screenwriting Hell to see what happens to writers who never make the grade. Virgil teaches him the tricks of the trade, the fundamental techniques that all screenwriters have to master, no matter how great their ideas. But there's something a little strange about Virgil, and Danny is never sure whether to trust him or not... As well as the screenplay itself, the book includes an introduction explaining how to get the most out of the screenplay, the log line, the synopsis, character bios, the treatment, and "The Pitch" - a short scene that shows the author pitching his screenplay to a big-shot producer.

    It was the motion picture that introduced Indian cinema to the West. Initially critics considered Ray a poetic chronicler of Bengali village life, but soon he showed himself adept at making movies that incorporate contemporary urban life (Branches of the Tree), Indian history (The Lonely Wife), comedy (The Philosopher's Stone), musical fantasy (Kingdom of Diamonds), children's subjects (The Golden Fortress), and even documentary elements (Rabindranath Tagore).Satyajit Ray: Interviews reveals a genial, generous, unpre-tentious, immensely knowledgeable man who, for all his fame, remained to the end amusedly indifferent to movie-world glamour.Scripting, casting, directing, music-scoring, camera-operating, working closely on art direction and editing, even designing his own credit titles and publicity material--Ray did it all almost from the start of his career. His films come close to being wholly personal expressions yet achieve a global resonance.Bert Cardullo is professor of American culture and literature at Ege University in Izmir, Turkey. He lives on the island of Chios.

    These lively, candid, in-depth interviews are filled with fascinating new material (details, anecdotes, judgments, and opinions) about the creative and collaborative processes that went into the making of these extraordinary films. In the past, Hollywood screenwriters--the original artists--have often been overlooked. This book is a special tribute to the invaluable contributions of these cinematic visionaries, many of whom are considered among the greatest screenwriters in American film history. As Orson Welles once said, In my opinion, the writer should have the first and last word in filmmaking. This book allows them to have that exciting opportunity.Some of the highlights from these interviews include: Betty Comden and Adolph Green's explaining how a nightclub skit became the premise for Singin' in the Rain; Ernest Lehman's description of how, while in conversation with Hitchcock, his unconscious suddenly solved the plot problems in North by Northwest; Carl Gottlieb's remembrance of the terrible pressure involved with writing the script for Jaws while shooting was already underway; and Sylvester Stallone's account of how he received final approval to star in Rocky from studio executives who thought he was just another actor.

    In The Ghosts of Songs, acclaimed artists, filmmakers, and scholars examine the legacy of the collective’s innovative and wide-ranging work in film, video, and installations as well as their provocative essays and manifestos. Packed with rare photographs and previously unseen film stills, The Ghosts of Songs is a thorough assessment of the group’s entire career.

    In Narrating Evil, Mar�a P�a Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development.Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in helping societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible.In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as J�rgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined.The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. Narrating Evil describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world.

    A fictional autobiography of a self-obsessed Hollywood actor s failed attempt to find out who he is in the midst of madness, murder, mayhem, masturbation and meditation, while secretly making home movies of the girl next door with his 1950 s wind-up Bell and Howell 16 mm camera.

    The introduction of three-color Technicolor technology in 1932 gave filmmakers a powerful tool with which to guide viewers’ attention, punctuate turning points, and express emotional subtext. Although many producers and filmmakers initially resisted the use of color, Technicolor designers, led by the legendary Natalie Kalmus, developed an aesthetic that complemented the classical Hollywood filmmaking style while still offering innovative novelty. By the end of the 1930s, color in film was thoroughly harnessed to narrative, and it became elegantly expressive without threatening the coherence of the film’s imaginary world. Harnessing the Technicolor Rainbow is the first scholarly history of Technicolor aesthetics and technology, as well as a thoroughgoing analysis of how color works in film. Scott Higgins draws on extensive primary research and close analysis of well-known movies, including Becky Sharp, A Star Is Born, Adventures of Robin Hood, and Gone with the Wind, to show how the Technicolor films of the 1930s forged enduring conventions for handling color in popular cinema. He argues that filmmakers and designers rapidly worked through a series of stylistic modes based on the demonstration, restraint, and integration of color—and shows how the color conventions developed in the 1930s have continued to influence filmmaking to the present day. Higgins also formulates a new vocabulary and a method of analysis for capturing the often-elusive functions and effects of color that, in turn, open new avenues for the study of film form and lay a foundation for new work on color in cinema.

    He describes in detail how Hitchcock's characteristic tone is achieved through a titillating combination of suspense and black humor that subverts the moral framework of the romantic thriller, and a meticulous approach to visual style that articulates the lure of human perversity even as the ideal of romance is being deliriously affirmed. Discussing more than thirty films from the director's English and American periods, Allen explores the filmmaker's adoption of the idioms of late romanticism, his orchestration of narrative point of view and suspense, and his distinctive visual strategies of aestheticism and expressionism and surrealism.

    Each issue of Wholphin will contain a variety of extraordinary short films, documentaries, instructional videos, foreign sitcoms, and other cinema hybrids that deserve to be seen on very expensive televisions.Recent issues have included films from Steven Soderbergh, Spike Jonze, David O'Russell, Errol Morris, and Alexander Payne, with scripts from Daniel Handler (aka Lemony Snicket), the writers of The Daily Show and Bob Odenkirk. And unique performances by Dennis Hopper, John C. Reilly, Andy Richter, Donald Trump and Miranda July, as well as a trap-jaw ant, a pregnant squid and a monkey-faced eel.

    Packed full of behind-the-scenes photographs depicting the daily nuts-and-bolts of these productions, Anderson details everything fans of these great shows want to know. This book contains page after page of memorable stories and anecdotes about Anderson's involvement with these ground-breaking sci-fi television shows and films. Containing over 200 rarely seen photographs with detailed remembrances of what made these ground-breaking shows so memorable.

    Laura Marcus examines the impact of cinema on early twentieth-century literary and, more broadly, aesthetic and cultural consciousness, by bringing together the study of the terms and strategies of early writings about film with literary engagement with cinema in the same period. She gives a new understanding of the ways in which early writers about film - reviewers, critics, theorists - developed aesthetic categories to define and accommodate what was called 'the seventh art' or 'the tenth muse' and found discursive strategies adequate to the representation of the new art and technology of cinema, with its unprecedented powers of movement. In examining the writings of early film critics and commentators in tandem with those of more specifically literary figures, including H.G.Wells and Virginia Woolf, and in bringing literary texts into this field, Laura Marcus provides a new account of relationships between cinema and literature. Intertwining two major strands of research - the exploration of early film criticism and theory and cinema's presence in literary texts - The Tenth Muse shows how issues central to an understanding of cinema (including questions of time, repetition, movement, vision, sound and silence) are threaded through both kinds of writing, and the ways in which discursive and fictional writings overlapped. The movement that defined cinema was also perceived as a more fragile and unstable ephemerality that inhered at every level, from the fleeting nature of the projected images to the vagaries of cinematic exhibition. It was the anxiety over the mutability of the medium and its exhibition which, from the 1920s onwards, led to the establishment of such institutional spaces for cinema as the London-based Film Society, the new film journals, and, in the 1930s, the first film archives. The Tenth Muse explores the continuities between these sites of cinematic culture and the conceptual, literary and philosophical understandings of the filmic medium.

    Movie fans might instantly associate him with the horror hit, HOUSE OF WAX, in which he played the romantic lead - and in 3-D! These credits are just the tip of the iceberg in Picerni's stage-screen-TV career, which took him from small East Coast theater groups to Hollywood studios where he acted alongside stars on the level of John Wayne, Errol Flynn, Audie Murphy, Burt Lancaster, Vincent Price, Charles Bronson and his best friend Telly Savalas. In this book, master storyteller Picerni vividly describes working with these legends (and scores of others) and recalls in detail all the phases of his astounding 60 years in the acting profession--all of his many "Steps to Stardom." "Best Book of the Year!" Classic Images, 2007

    Frames of Mind offers an introduction to the world of Post-Jungian film and television studies, examining how Jung’s theories can heighten our understanding of everything from Chinatown and Star Trek to advertisements.             In this illuminating psychoanalysis of our media environment, Luke Hockley probes questions such as why we have genuine emotional responses to film events we know to be fictional, why we are compulsively driven to watch television, and how advertisers use unconscious motifs to persuade viewers. “A beautiful job! Hockley’s is a big screen approach, for he seeks to link Jungian and post-Jungian ideas about film with the sounds and images that flicker across everyone’s everyday experience. In this mixture of the formal and the informal, he performs an act of therapy for Jungian media criticism itself, rooting it (for its own good) in the popular and the ubiquitous. The process brings out aspects of Jung’s work on sexuality and the body that often get overlooked in academic circles.”—Andrew Samuels, Professor of Analytical Psychology, University of Essex

    Never before, and never since, have so many African-American performers been featured in films, not in bit parts, but in name-above-the title starring roles. Here's a new and appreciative look back at a distinctly American motion picture phenomenon, the first truly comprehensive examination of the genre, its films, its trends and its far-reaching impact, covering more than 240 Blaxploitation films in detail. This is the primary reference book on the genre, covering not just the films' heyday (1971-1976) but the entire decade (1970-1980). Includes: film posters and ads