Journey deeper into the magical world of the hobbit, Bilbo Baggins, through exclusive interviews with director Peter Jackson, Martin Freeman, Ian McKellen, Orlando Bloom and principal filmmakers and cast, including Benedict Cumberbatch, who reveals film-making secrets about playing both the evil Necromancer and the dragon, Smaug.Richly illustrated with hundreds of behind-the-scenes photos of the actors, locations, creatures and costumes, this special collector’s edition hardback is an essential guide to the final film in the award-winning trilogy.‘In our adaptation of The Hobbit we have done something that Tolkien didn’t succeed in doing in print and, hopefully, this will come fresh to people who will have never seen the full story playing out in chronological order.’PETER JACKSON

    The Grand Budapest Hotel recounts the adventures of Gustave H (Ralph Fiennes), a legendary concierge at a famous European hotel between the wars, and Zero Moustafa (Tony Revolori), the lobby boy who becomes his most trusted friend. Acting as a kind of father figure, M. Gustave leads the resourceful Zero on a journey that involves the theft and recovery of a priceless Renaissance painting; the battle for an enormous family fortune; a desperate chase on motorcycles, trains, sledges and skis; and the sweetest confection of a love affair all against the backdrop of a suddenly and dramatically changing Continent. Inspired by the writings of Stefan Zweig, The Grand Budapest Hotel recreates a bygone era through its arresting visuals and sparkling dialogue. The charm and vibrant colors of the film gradually darken with a sense of melancholy as the forces of history conspire against our hero and his vanishing way of life. Written and directed by Wes Anderson, whose films include The Royal Tenenbaums, Moonrise Kingdom, and Fantastic Mr. Fox . The film also stars Jude Law, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Adrian Brody, Saoirse Ronan, Lea Seydoux, Bill Murray and Owen Wilson.

    From the opening chase above Tatooine in A New Hope to the Battle of Endor in Jedi, this book presents the visual inspiration behind now-iconic moments. Readers can finally see a full set of storyboards by legendary artist Joe Johnston, as well as early boards for Episode IV by Alex Tavoularis and for Episode V by Ivor Beddoes, rarely seen Episode VI boards by Roy Carnon, and Ralph McQuarrie’s never-before-seen storyboards for Episode V.

    He became a symbol of America itself. He epitomized the Western film, which for many people epitomized America. He identified with conservative political causes from the early 1930s to his death in 1979, making him a hero to one generation of Americans and a villain to another. But unlike fellow actor Ronald Reagan, Wayne had no interest in politics as a career. Like many stars, he altered his life story, claiming to have become an actor almost by accident when in fact he had studied drama and aspired to act for most of his youth. He married three times, all to Latina women, and conducted a lengthy affair with Marlene Dietrich, as unlikely a romantic partner as one could imagine for the Duke. Wayne projected dignity, integrity, and strength in all his films, even when his characters were flawed, and whatever character he played was always prepared to confront injustice in his own way. More than thirty years after his death, he remains the standard by which male stars are judged and an actor whose morally unambiguous films continue to attract sizeable audiences.Scott Eyman interviewed Wayne, as well as many family members, and he has drawn on previously unpublished reminiscences from friends and associates of the Duke in this biography, as well as documents from his production company that shed light on Wayne’s business affairs. He traces Wayne from his childhood to his stardom in Stagecoach and dozens of films after that. Eyman perceptively analyzes Wayne’s relationship with John Ford, the director with whom he’s most associated and who made some of Wayne’s greatest films, among them She Wore a Yellow Ribbon, The Quiet Man, and The Searchers. His evaluation of Wayne himself is shrewd: a skilled actor who was reluctant to step outside his comfort zone. Wayne was self-aware; he once said, “I’ve played the kind of man I’d like to have been.” It’s that man and the real John Wayne who are brilliantly profiled in Scott Eyman’s insightful biography of a true American legend.

    From Ridley Scott's elegant horror masterpiece and James Cameron's visceral and heart-pounding Aliens, to David Fincher's nihilistic Alien³, and Jean-Pierre Jeunet's twisted Alien Resurrection, these are the films that birthed a monster and a cultural phenomenon.Alien: The Archive is a beautiful celebration of these landmark films, delving deep into the process of how all four films were created. From the earliest script ideas to final cut, this book showcases the making of the series in exhaustive and exclusive detail. Featuring storyboards from Ridley Scott, exclusive concept designs from Ron Cobb and Syd Mead, behind-the-scenes imagery of the Xenomorphs being created, deleted scenes, unused ideas, costumes, weapons, and much more.This must have retrospective also includes brand new interviews with Ridley Scott, Sigourney Weaver, H.R. Giger, Jean-Pierre Jeunet, Jenette Goldstein, and those whose vision and originality created a cinema legend.This book is for all fans of Alien, art lovers, and cinema and science fiction historians. Alien: The Archive is the final word on the series and showcases the breathtaking creation of a terrifying and beautiful filmic nightmare.

    In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

    This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold re-imaginings, the stunningly diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers.

    and Legendary’s Godzilla, directed by Gareth Edwards, this visually stunning book presents an extraordinary new vision for the beloved character through a dynamic selection of concept illustrations, sketches, storyboards, and other pre-production materials. Godzilla: The Art of Destruction is the definitive book on one of the most anticipated films of 2014. Featuring interviews with the director and key crew and cast members, the book tells the complete story of the making of Godzilla from concept to final frames. Comprehensive and enthralling, Godzilla: The Art of Destruction is a book that no fan will want to be without.

    As the mystery of “Who Killed Laura Palmer?” played out on television sets across the world, another compelling drama was unfolding in the everyday lives of the show’s cast and crew. Twenty-five years later, Reflections goes behind the curtain of Twin Peaks and documents the series’ unlikely beginnings, widespread success, and peculiar collapse. Featuring first-hand accounts from series cocreator Mark Frost and cast members including Kyle MacLachlan, Joan Chen, Sherilyn Fenn, Piper Laurie, Michael Ontkean, Ray Wise, Billy Zane, and many more – Reflections explores the magic and mystique of a true television phenomenon, Twin Peaks.

    Fifty years after the film's conception, TASCHEN looks back at the process of making the most important science-fiction film of all time. Though 2001 has arguably spawned more critical texts and scholarly analyses than any other film, this publication marks the first time that a truly exhaustive book has been devoted to it. TASCHEN readers enjoyed a sampling of previously unseen 2001 material in The Stanley Kubrick Archives; this four-volume set revisits the subject, exploring in great depth every aspect of the film and its making: the groundbreaking technical effects, the extraordinary set designs, and the fascinating collaboration between Kubrick and Arthur C. Clarke. Made in exclusive collaboration with the Kubrick estate and Warner Brothers, this copiously illustrated work features hundreds of unique 2001-related documents, concept artworks, and superb behind-the-scenes photographs from the Kubrick Archives most of which have never been published before as well as exclusive material from co-screenwriter Arthur C. Clarke s archives. The Making of Stanley Kubrick s '2001: A Space Odyssey' is a landmark book for film fans and a celebration of technical special-effects innovation before the digital age, conceived by the very designers of TASCHEN's instant collectible Stanley Kubrick's Napoleon: The Greatest Movie Never Made. The Making of Stanley Kubrick's '2001. A Space Odyssey' Four volumes contained in a monolith-shaped case, designed by M/M Paris: Volume 1: Film stills Volume 2: Behind the scenes (including new interviews with lead actors, senior production designers, and key special-effects experts) Volume 3: Facsimile of original screenplay Volume 4: Facsimile of original 1965 production notes Limited to a total of 1,000 copies: Art Edition No 1-500 (Art Edition A and B) and Collector's Edition No. 501-1,500"

    Reilly, Glenn Close as Commander Rael and Benicio Del Toro as the Collector.

    To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. The Making of Gone With The Wind tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.This inside view of the decisions and creative choices that shaped the production reaffirm that Gone With The Wind is perhaps the quintessential film of Hollywood’s Golden Age and illustrate why it remains influential and controversial decades after it was released.

    All accompanied by exclusive commentary from those involved, including John Carpenter himself, and other key crew and cast. From production stills, to candids of the stars between takes, and the crew in action, alongside portrait shots of the actors who would eagerly pose for Kim, this book gives an unprecedented glimpse into the action on set with John Carpenter.

    Adobe Premiere Pro CC Classroom in a Book contains 19 lessons that cover the basics, providing countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you. In addition to learning the key elements of the Adobe Premiere Pro interface, this completely revised CC (2014 release) edition covers new features, including "scratch" track recording, Master Clip effects, and masking and tracking visual effects. Access to all of the project files used in the book's lessons are included with purchase of the book. Print editions come bundled with a DVD containing the lesson files, and students who purchase an eBook edition receive a code that lets them download the lesson files from their account page on peachpit.com. Both print and eBook users also get access to downloadable updates that cover new features that Adobe releases for Creative Cloud members. "The Classroom in a Book series is by far the best training material on the market. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students." Barbara Binder, Adobe Certified InstructorRocky Mountain Training

    . . but movies are fun! In this children's picture book parody for grown-ups, Pixar writer and artist Josh Cooley presents the most hilariously inappropriate—that is, the best—scenes from contemporary classic films in an illustrated, for-early-readers style. Terrifying, sexy, and awesome scenes from such favorite films as Alien, Rosemary's Baby, Fargo, Basic Instinct, Seven, The Silence of the Lambs, Apocalypse Now, The Shining, and many more are playfully illustrated and captioned to make reading fun and exciting for kids who never grew up. A sly celebration of the things fans love most about these legendary films (and movies in general), this is one book that probably should not be read at bedtime.

    Including behind-the-scenes stories, pull-out-items, photos, and sounds, this interactive book is a true Rocky Horror Picture Show Treasury.Enjoy musical clips from:– “Science Fiction/Double Feature"– “Dammit Janet"– “Over at the Frankenstein Place"– “Time Warp"– “Sweet Transvestite"– “Hot Patootie"– “Touch-a, Touch-a, Touch-a, Touch Me"– "I'm Going Home"Pull-out ephemera:– 5 Rocky Horror temporary tattoos– 9x12” movie poster– “Time Warp” dance chart– Party invitationThe body of the book is comprised of behind-the-scenes stories and history on the original stage musical and the 1975 film, fully illustrated with photos throughout

    This 2015 edition covers the modern era, from 1965 to the present, while including all the great older films you can’t afford to miss—and those you can—from box-office smashes to cult classics to forgotten gems to forgettable bombs, listed alphabetically, and complete with all the essential information you could ask for.NEW:• Nearly 16,000 capsule movie reviews, with 300+ new entries• More than 25,000 DVD and video listings• Up-to-date list of mail-order and online sources for buying and renting DVDs and videosMORE: • Official motion picture code ratings from G to NC-17• Old and new theatrical and video releases rated **** to BOMB• Exact running times—an invaluable guide for recording and for discovering which movies have been edited• Reviews of little-known sleepers, foreign films, rarities, and classics• Leonard’s personal list of Must-See Movies• Date of release, running time, director, stars, MPAA ratings, color or black and white• Concise summary, capsule review, and four-star-to-BOMB rating system• Precise information on films shot in widescreen format• Symbols for DVDs, videos, and laserdiscs• Completely updated index of leading actors

    His animated films of the era, including Princess Mononoke, Howl’s Moving Castle, and Ponyo, were internationally lauded, and Miyazaki won an Academy Award® in 2003 for his popular and critical hit Spirited Away. Follow Miyazaki as his vision matures, as cinema-lovers worldwide embrace his creations, and as critics such as Roger Ebert take up the cause of animation and Miyazaki’s films. In a legendary career, these crucial years represent the turning point.

    Interstellar: Beyond Time and Space documents the making of Nolan's latest masterpiece in fascinating detail and features interviews with the acclaimed director, along with screenwriter Jonathan Nolan, producer Emma Thomas, and other key members of the production team. Delving into the science and philosophy behind the film, Interstellar: Beyond Time and Space dynamically showcases its incredible concept art, including costume designs, storyboards, and other fascinating preproduction elements. Also featuring interviews with the exceptional cast, including Matthew McConaughey and Anne Hathaway, Interstellar: Beyond Time and Space tells the full story of the making of the film, with candid pictures illustrating its elaborate set pieces and reliance on classic special effects techniques. Visually enthralling and engrossing in its in-depth exploration of the themes and ideas at the heart of Interstellar, this book is the perfect accompaniment to one of the most anticipated films of 2014. Based on the film from Warner Bros. Pictures and Paramount Pictures. From acclaimed filmmaker Christopher Nolan ("The Dark Knight" films, "Inception"), "Interstellar" stars Oscar winner Matthew McConaughey ("Dallas Buyers Club"), Oscar winner Anne Hathaway ("Les Misébles"), Oscar nominee Jessica Chastain ("Zero Dark Thirty"), Bill Irwin ("Rachel Getting Married"), Oscar winner Ellen Burstyn ("Alice Doesn't Live Here Anymore"), and Oscar winner Michael Caine ("The Cider House Rules"). The main cast also includes Wes Bentley, Casey Affleck, David Gyasi, Mackenzie Foy and Topher Grace. Christopher Nolan directed the film from a screenplay he co-wrote with Jonathan Nolan. Emma Thomas, Christopher Nolan and Lynda Obst produced "Interstellar," with Jordan Goldberg, Jake Myers, Kip Thorne and Thomas Tull serving as executive producers. Warner Bros. Pictures and Paramount Pictures present, in association with Legendary Pictures, a Syncopy/Lynda Obst Productions production, a film by Christopher Nolan, "Interstellar."

     From Scorsese’s debut feature to The Wolf of Wall Street, this new critical monograph charts the director’s glittering 50-year career at the helm of filmmaking. Renowned movie critic Tom Shone draws on his in-depth knowledge and distinctive viewpoint to provide essential commentaries on all of Scorsese’s twenty-three feature films, including Taxi Driver, Raging Bull, Goodfellas, and The Departed. Shone’s text is joined by more than 250 behind-the-scenes stills, photographs, posters, and ephemera.   Movie by movie, this stunning monograph provides the definitive celebration of one of cinema’s most enduring talents.

    This definitive guide unlocks the insider-secrets used to succeed as a professional assistant lighting designer (ALD) - whether choosing assisting as a career or while transitioning to another. This book outlines, step-by-step, the challenges the ALD faces during every phase of production. Never before has a resource existed that views the design process through the eyes of the assistant.　Intermingled among the nuts and bolts of the paperwork and essential procedures, top industry professionals reveal tips for personal survival in this challenging career - both domestically and abroad as well as in other careers in lighting. Within these pages are the industry secrets rarely taught in school!The author's website can be found at http: //www.aldtoolkit.com/.

    His ability to explore and engage so many different worlds with a single, coherent vision changed the landscape of cinema forever. This signature "Altmanesque" style is, in the words of Martin Scorsese: "as recognizable and familiar as Renoir's brushstrokes or Debussy's orchestrations."      Now, the Altman estate opens its archive to celebrate his extraordinary life and career in the first authorized visual biography on the iconoclastic director. Altman, by Altman’s widow Kathryn Reed Altman and film critic Giulia D’Agnolo Vallan, brims with photographs and ephemera, many culled from private family albums, and personal recollections of the director. Alongside the intimate illustrated story is a complete visual, historical, and critical narrative of Altman’s films and his process.      To honor the Altman trademark of using a wide cast of characters, Altman also features contributions from his collaborators and contemporaries including Frank Barhydt, E. L. Doctorow, Roger Ebert, Jules Feiffer, Julian Fellowes, James Franco, Tess Gallagher, Pauline Kael, Garrison Keillor, Michael Murphy, Martin Scorsese, Lily Tomlin, Alan Rudolph, Michael Tolkin, and Kurt Vonnegut Jr.

    However, little can be found on how to go from writing to pitching in the professional space. There is no formula, no three-step plan. Getting It Write: An Insider’s Guide to a Screenwriting Career unlocks pragmatic guidance for constructing a screenwriting career, delivered by a sought-after industry authority who works with writers both novice and professional. Never pulling any punches, the book aims to decode Hollywood, prepare the writer for the road ahead, and offer tangible avenues for screenwriting success.

    Lange's strikingly realistic designs created an extraordinary vision of the future. By releasing this archive and explaining its significance, the book takes the reader/viewer on a journey deep into the visual thinking behind 2001.The book is about the process, as well as the finished product. It examines how Harry Lange's experience with NASA fed into the innovations of the film. It includes rejected designs, concepts and roughs, as well as the finished works. It also reveals how the design team was obsessed with things that actually might work, and reproduces several innovations that were science fiction in the 1960s but have since become science fact, including an international space station, personal computers and flat-screen tablet technology. The remarkable designs for 2001 created a credible vision of the future.

    In films such as The Deer Hunter (1978), Kramer vs. Kramer (1979), Mamma Mia (2008), and The Iron Lady (2010), Streep has astounded audiences with her ability to fully inhabit characters. She has received 17 Academy Award nominations and 27 Golden Globe nominations - more nominations than any other actor in the history of either award.Meryl Streep: Anatomy of an Actor is a new addition to Cahiers du cinema, a fascinating series from the world-renowned cinema magazine. The book focuses on ten key performances, exploring the unparalleled career of Meryl Streep through narrative and analytical text accompanied by 300 images, including film stills and set photographs, as well as film sequences, script notes, and more. This thoughtful and lively examination of Streep's craft will appeal to film professionals and casual movie fans alike.

    GUN CRAZY: THE ORIGIN OF AMERICAN OUTLAW CINEMA examines the history of the extraordinary 1950 film, from its genesis as a Saturday Evening Post short story through its tumultuous production history to its eventual enshrinement as one of the most influential cult films of all time.More info closer to release date.

    In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vechicle for narrative plot and at times complicating biblical and cinematic interpertation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.

    Featuring work from all periods of Lynch’s career, this book documents Lynch’s first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist’s studio. Much like his movies, many of Lynch’s artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965–70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch’s work in 1987, “I would like to know how he got to this point; he cannot be born out of the head of Zeus.” Published in association with the Pennsylvania Academy of the Fine Arts

    

    a glorious retrospective on the film franchise that put the fear of the "Tall Man in every horror fan's heart." - HorrorHound Magazine "Dustin McNeill's PHANTASM EXHUMED is a much-needed, long overdue tribute to these seminal films. Equal parts erudite examination and enthusiastic love-letter, this book provides an in-depth history and a wealth of obscure information that even the most hardcore fan will find fascinating. Engaging, compulsive reading. I highly recommend it!" - Brian Keene, bestselling author of THE RISING, GHOUL, and THE LAST ZOMBIEREADY YOUR SHOVELS for PHANTASM EXHUMED, the first book on the making of the PHANTASM franchise. Featuring more than sixty new interviews with cast, crew, effects creators and studio executives, EXHUMED takes readers behind the scenes of the franchise that catapulted the Tall Man into the annals of horror iconography. Trace PHANTASM's history from forerunners JIM THE WORLD'S GREATEST and KENNY & COMPANY through to PHANTASM: OBLIVION and beyond. Contained within are the classic tales of PHANTASM lore along with production stories never before told by the filmmakers. Careful what you look for... you just might find it within this book!PHANTASM EXHUMED includes: - An Introduction by Angus Scrimm - Exhaustive coverage of the film productions - More than 250 rare photographs, many never-before-seen - Information on deleted scenes and script changes - Unprecedented insights into effects, props & set construction - Rare letters, memos and production artifacts - Excerpts from Angus Scrimm's 1977 set journals - Sections on Phantasm 1999, the 2005 remake and Phantasm Forever - New details and photos from the upcoming Phantasm: Ravager! - Tips and tricks for better embalming (just kidding)

    Later, when he mysteriously disappeared into a Guatemalan jungle, his notebook was forgotten ... and with it, the stories of how these beloved animated classics were made. Miraculously unearthed in a chest of drawers in 1990, Schultheis's notebook is now available for all to see at the Walt Disney Family Museum in San Francisco—and in this compelling and beautiful book. Part annotated facsimile of the scrapbook itself, part biography of the complicated, overly ambitious man who made it, The Lost Notebook is a goldmine for Disney and animation enthusiasts and a vivid, riveting account of one man's plight to make it big in early Hollywood.

    With his scaly armor, razor claws and a face only a mother octopus could love, this Amazon denizen was perhaps the most fearsome beast in the history of Hollywood's Studio of Horrors. But he also possessed a sympathetic quality which elevated him fathoms above the many aquatic monsters who swam in his wake. Everything you ever wanted to know about the Gill Man and his mid-1950s film career (Creature from the Black Lagoon, Revenge of the Creature, The Creature Walks Among Us) is collected in this book, packed to the gills with hour-by-hour production histories, cast bios, analyses, explorations of the music, script-to-screen comparisons, in-depth interviews and an ocean of fin-tastic photos.

    Tracing the constellation of talents that came together to produce the film, Roger Luckhurst examines its origins as a monster movie script called Star Beast, dismissed by many in Hollywood as B-movie trash, through to its afterlife in numerous sequels, prequels and elaborations. Exploring the ways in which Alien compels us to think about otherness, Luckhurst demonstrates how and why this interstellar slasher movie, this old dark house in space, came to coil itself around our darkest imaginings about the fragility of humanity. This special edition features original cover artwork by Marta Lech.

    1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all the major films, from Signs of Life and Aguirre, the Wrath of God to Grizzly Man and Cave of Forgotten Dreams. When did Herzog decide to become a filmmaker? Who are his key influences? Where does he find his peculiar themes and characters? What role does music play in his films? How does he see himself in relation to the German past and in relation to film history? And how did he ever survive the wrath of Klaus Kinski? Herzog answers these and many other questions in twenty-five interviews ranging from the 1960s to the present.Critics and fans recognized Herzog's importance as a young German filmmaker early on, but his films have attained international significance over the decades. Most of the interviews collected in this volume--some of them from Herzog's production archive and previously unpublished--appear in English for the very first time. Together, they offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

    A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to present day, accompanied by insightful accompanying text, a foreword by black history authority and renowned academic, Henry Louis Gates, Jr., and an afterword by Hollywood director, Spike Lee. These posters have meaning to young and old alike, and possess the power to transcend ethnicity. They capture the spirit and energy of an earlier time, reminding people of the pioneers of the past, those courageous and daring African-American filmmakers, entertainers and artists whose dreams and struggles paved the way for future generations. The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee table book represents some of the archive's greatest highlights.

    Collecting and presenting the most important Garland interviews and encounters that took place between 1935 and 1969, this work opens with her first radio appearance under contract with Metro-Goldwyn-Mayer, and concludes with her last known interview, one taped for Radio Denmark just months before her death. What makes this collection unique is that it places Judy in the role of storyteller. She wrote a number of essays for various publications and sat for countless print, radio, and television interviews. These and other autobiographical efforts she made are proof that Judy Garland wanted her story told in her own words. Finally, 45 years after her death, here it is.

    The ways in which film critics and scholars have analysed these transformations in film style have also often changed. This book explores two central style concepts from the history of audiovisual criticism and theory, mise en scène and dispositif, to illuminate a wide range of film and new media examples. It argues that we need an open, inclusive and truly international approach to understand anew both old and current film and media works.

    By exploring the harsh romance of the medieval past with its ruined castles and abbeys, its wild landscapes and fascination with the supernatural, Gothic writers placed imagination firmly at the heart of their work.The Gothic has continued to haunt literature, fine art, music, film and fashion ever since its heyday in Britain in the 1790s. This book, which accompanies a major exhibition at the British Library, traces the numerous meanings and manifestations of the Gothic across time, tracking its shifts and mutations from its eighteenth-century origins, through the Victorian period, and into the present day.Through 150 objects – including manuscripts, paintings, film clips and posters – Terror and Wonder explores all aspects of the Gothic world. Iconic works, including Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the sinister fairy tales of Angela Carter and the modern horrors of Clive Barker, highlight the ways in which contemporary fears have been addressed by successive generations of Gothic writers. Other rare and fascinating exhibits, including hitherto overlooked manuscripts and even a real-life vampire-slaying kit, add colour and drama to the story.Edited and introduced by Dale Townshend, and with original essays by major scholars of the Gothic, Terror and Wonder provides a compelling and comprehensive overview of the Gothic imagination over the past 250 years.ContentsDale Townshend, IntroductionNick Groom, Gothic Antiquity: From the Sack of Rome to The castle of OtrantoAngela Wright, Gothic, 1764-1820Alexandra Warwick, Gothic, 1820-1880Andrew Smith, Gothic and the Victorian fin de siecle, 1880-1900Lucie Armitt, Twentieth-Century GothicCatherine Spooner, Twenty-First Century GothicMartin Parr, Photographing Goths: Martin Parr at the Whitby Goth Weekend

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.

    (2) John Barrymore's 1931 horror vehicles Svengali and The Mad Genius, and their rejection by the public. (3) The disastrous shooting of 1933's Murders in the Zoo, perhaps the most racy of all Pre-Code horror films. (4) A candid interview with the son of legendary horror star Lionel Atwill. (5) The censorship battles of One More River, as waged by Frankenstein director James Whale. (6) The adventures (and misadventures) of Boris Karloff as a star at Warner Bros. (7) The stage and screen versions of the horror/comedy Arsenic and Old Lace. (8) Production diaries of the horror noirs Cat People and The Curse of the Cat People. (9) Frankenstein Meets the Wolf Man revisited. (10) Horror propaganda: The production of Hitler's Madman. (11) Horror star John Carradine and the rise and fall of his Shakespearean Repertory Company. (12) The Shock Theatre television phenomenon. And (13) A Tribute to Carl Laemmle, Jr., producer of the original Universal horror classics, including an interview with his lady friend of almost 40 years.

    Richly illustrated with film stills and previously unseen material from the Stanley Kubrick Archive, this book is designed to open the reader's eyes to the wonder and richness of Kubrick's oeuvre.The collection held by the University is made up of a range of material including props, scripts, research, production paperwork such as call sheets, costumes and photographs for all his films and Look, as well as material for those projects that were conceived but never visualised. By maintaining a high degree of control in the film making process, Kubrick was able to retain material generated by his pioneering techniques, research and production work: arguably making this collection one of the most complete examples of film making practice world wide. Kubrick's films have inspired a huge amount of critical commentary, yet until recently critics and scholars have made little use of archival resources.The essays included in this collection offer new perspectives on Kubrick's working methods, the manifold influences on his films, their themes and style as well as their marketing and reception. Between them, the essays cover the totality of Kubrick's career, from his beginnings as a photojournalist and documentary filmmaker in the late 1940s and early 1950s to his last movie, Eyes Wide Shut, which was released a few months after his death in 1999.Ranging from low-budget noir thrillers to spectacular historical and futuristic epics, from war films to erotic dramas, from horror to topical movies, Kubrick's work explores fundamental questions about sexuality and violence, military organisations and combat, male bonding and marriage, human nature and social change. In doing so, he has produced iconic images (and sounds) representing key events and developments of the 20th century, including World War I, the threat of nuclear apocalypse, the space race, the Vietnam War, the rise of juvenile delinquency and family breakdown.

    Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker's home in Nashville.After more than twenty years, Harmony Korine (b. 1973) remains one of the most prominent and yet subversive filmmakers in America. Ever since his entry into the independent film scene as the irrepressible prodigy who wrote the screenplay for Larry Clark's Kids in 1992, Korine has retained his stature as the ultimate cinematic provocateur. He both intelligently observes modern social milieus and simultaneously thumbs his nose at them. Now approaching middle age, and more influential than ever, Korine remains intentionally sensationalistic and ceaselessly creative.He parlayed the success of Kids into directing the dreamy portrait of neglect Gummo two years later. With his audacious 1999 digital video drama Julien Donkey-Boy, Korine continued to demonstrate a penchant for fusing experimental, subversive interests with lyrical narrative techniques. Surviving an early career burnout, he resurfaced with a trifecta of insightful works that built on his earlier aesthetic leanings: a surprisingly delicate rumination on identity (Mister Lonely, 2007), a gritty quasi-diary film (Trash Humpers, 2009) and a blistering portrait of American hedonism (Spring Breakers, 2013), which yielded significant commercial success. Throughout his career he has also continued as a mixed-media artist whose fields included music videos, paintings, photography, publishing, songwriting, and performance art.

    He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon's exact physical double and his opposite - confident, charismatic and good with women. To Simon's horror, James slowly starts taking over his life.

    a heart-warming account of making the movie” (Daily Mail) “Sophie has reminded me of one of the happiest times I ever spent on a film. The fun that was had, the friendships forged, the challenges overcome, are all delightfully recalled with a freshness and sense of adventure that has made me smile all over again.” (Virginia McKenna OBE) “a smashing book about childhood adventure... It is a truly touching read and I’m sure fun for the newcomer as well as those who lived through it. LOVED it.” (Richard Pilbrow, Producer of Swallows & Amazons) “Sophie brings to life all the many memorable characters who worked on the film and in particular the other children, the Director Claude Whatham who developed a great relationship with his young cast and the stars Virginia McKenna and Ronald Fraser... The result is compulsive reading as she recalls that cold wet summer, while the camera crew wrapped up warm and she shivered in her skimpy dress as Able Seaman Titty Walker.” (Roger Wardale, expert on Arthur Ransome)“A fascinating insight into behind the scenes of the film world. Sophie cleverly intersperses entries from the diary she wrote at the time into her amusingly written memoir of playing Titty. Lots of photos throughout the book bring the scenes to life – a delightful read.” (Celia Lewis, author of An Illustrated Country Year) “Your reminiscences are a treasure-trove.” (Arthur Ransome Trust) “a fascinating insight into filming on location in the Lake District” (Classic Boat)

    Supported by IFC Productions, Linklater, cast, and crew began the commitment of a lifetime that became the film, Boyhood. Seen through the eyes of a young boy in Texas, Boyhood unfolds as the characters—and actors—age and evolve, the boy growing from a soft-faced child into a young man on the brink of his adult life, finding himself as an artist.Photographer Matt Lankes captured the progression of the film and the actors through the lens of a 4x5 camera, creating a series of arresting portraits and behind-the-scenes photographs. His work documents Linklater’s unprecedented narrative that used the real-life passage of years as a key element to the storytelling.Just as Boyhood the film calls forth memories of childhood and lures one into a place of self-reflection, Boyhood: Twelve Years on Film presents an honest collection of faces, placed side-by-side, that chronicles the passage of time as the camera connects with the cast and crew on an intimate level. Revealing, personal recollections by the actors and filmmakers accompany the photographs.

    Detailed case studies of dramas made on both shoestring and bigger budgets offer insights from their writers, directors, and producers. Films discussed include Brokeback Mountain, American Beauty, Saving Mr. Banks, Changeling, and Girl, Interrupted.

     Film historian Professor Jeffrey Richards called A LIGHT AFFLICTION "an outstanding achievement. It is an absolutely enthralling read and I learned much from it." Biographer Robert Sitton wrote, "It is a necessary and thorough review of the past and present of film restoration and preservation, arriving just in time ... a splendid book." The cinema was invented in the Victorian era, but for the first four decades of its existence almost no effort was made to preserve the millions of feet of celluloid that rolled through the cameras and projectors of the world. Instead, through a combination of accident, neglect and deliberate destruction, thousands of movies were lost forever. Then, in the 1930s, the first concerted attempts at film preservation were begun by pioneering individuals such as Iris Barry at New York’s Museum of Modern Art; Ernest Lindgren at the British Film Institute and the indomitable Henri Langlois at the Cinémathèque française. Langlois performed heroics in occupied France to save the world’s cinematic heritage from destruction by the Nazis, and became so popular with French filmmakers and cineastes that his ejection in 1968 from his own archive led to fighting on the streets of Paris. Other heroes in the story of film preservation include Kevin Brownlow, who painstakingly pieced Abel Gance’s NAPOLÉON back together. Robert A. Harris worked miracles with LAWRENCE OF ARABIA and Martin Scorsese led a campaign to compel Kodak to produce a film stock less prone to deterioration. METROPOLIS was saved by an Argentinian collector, and missing sequences from KING KONG and A STAR IS BORN were preserved in private hands long after their makers had discarded the footage. The 1980s video boom encouraged the studios finally to instigate asset protection programmes and in the digital age new methods of producing, exhibiting and preserving motion pictures emerged - which led in turn to controversial restorations of movies such as STAR WARS and DR STRANGELOVE. Michael Binder is also the author of HALLIWELL'S HORIZON: Leslie Halliwell and his Film Guides. Available now on Amazon.

    New equipment, new methods, and new technologies have to be learned and mastered. New roles such as that of the DIT (Digital Imaging Technician), Digital Loader, and Data Manager are integral to today's motion picture production process. Take your mastery of these new tools, techniques, and roles to the next level with this cutting-edge roadmap from esteemed author and filmmaker Blain Brown.The Filmmaker's Guide to Digital Imaging covers both the theory and the practice, featuring full-color, in-depth coverage of essential terminology, technology, and industry-standard best-practices. Brown covers new industry-wide production standards such as ASC-CDL and the ACES workflow. Interviews with professional cinematographers and DITs working on Hollywood productions equip you with knowledge that is essential if you want to work in today's motion picture industry, whether as a cinematographer, DIT, Digital Loader, Data Manager, camera assistant, editor, or VFX artist. 　Topics include:Digital sensors and camerasThe structure of digital imagesWaveform monitors, vectorscopes, and test chartsUsing linear, gamma, and log encoded video filesExposure techniques for HD and UltraHDUnderstanding digital colorCodecs and file formatsThe DIT cartDownloading, ingesting, and managing video filesWorkflow from camera to DIT cart to postUsing metadata and timecodeThe companion website (www.focalpress.com/cw/brown) features additional material, including demonstrations and interviews with experienced DITs and cinematographers.

    Reproduced in a stunningly designed, over-sized format that shows off the spectacular visual elan of Hollywood movie posters at their best, the book is not only a spectacular showcase of film noir art, but also establishes the crucial films, identifies their key characteristics, with critical commentary on each film by editor and scholar Mark Fertig. This is an ideal handbook for noir rookies, a valuable resource for old-hats, and a visual feast for fans of film noir and American entertainment art.

    By the end of his second year on the silver screen, Chaplin's fame had spread worldwide. He was the first international film star and rapidly one of the richest men in the world, with a million dollar contract, his own studio and his stock company of close collaborators. From Alaska to Zimbabwe, the bowler hat, cane, baggy trousers and outsized shoes of the Tramp became, and remains, an instantly recognizable silhouette.With unrestricted access to the Chaplin archives, TASCHEN presents the ultimate book on the making of every one of his films. With 900 images, including stills, memos, storyboards and on-set photos, as well as interviews with Chaplin and his closest collaborators, it reveals the process behind the Chaplin genius, from the impromptu invention of early shots to the meticulous retakes and reworking of scenes and gags in his classic movies: The Kid (1921), The Gold Rush (1925), The Circus (1928), City Lights (1931), Modern Times (1936), and the provocative Hitler parody The Great Dictator (1940).The book includes:The Chaplin life history in words and pictures900 images including many previously unseen stills, on-set photos, memos, documents, storyboards, posters, and designs, plus scripts and images for unmade filmsAn oral history, told from the point of view of Chaplin himself, drawing upon his extensive writings, many of which have never been reprinted before.Supplementary interviews with some of his closest collaborators.Material from over 150 books of press clippings in Chaplin's archives, which range from his early days in music halls to his deathChaplin's short films, from Making a Living (1914) to The Pilgrim (1923), as well as all of his feature-length movies, from The Kid (1921) to A Countess from Hong Kong (1967)The first print run of 10,000 copies includes a precious 12 frame strip from City Lights (1931), cut from a 35 mm print in Chaplin's archives.Documents from the Chaplin Archives Property and Copyright of Roy Export Company Establishment, scanned by Cineteca di Bologna

    Once you’ve got your scenes planned out, this book steps in by shifting your focus to how your individual sequences and scenes connect to each other. You’ll find new ways to create emotional feelings in your audience. From location choices, to character movement between scenes, to the use of music, scene transitions are where the meat is in your story, and now you’ll discover a new pallet of creative possibilities.

    The prolific writer's works have spawned well over 100 adaptations for both the big and small screen, ranging from modern classics of horror (Carrie, The Shining) to Oscar-nominated fare (The Shawshank Redemption, The Green Mile) to unapologetic, B-movie schlock (the King-directed Maximum Overdrive). The filmmakers to put their stamp on King's material include acclaimed auteurs Stanley Kubrick, David Cronenberg, and Brian De Palma; masters of horror Tobe Hooper, John Carpenter, and George Romero; and popular mainstream directors Rob Reiner, Frank Darabont, and Lawrence Kasdan.Author Scott Von Doviak provides background information, analysis, and trivia regarding the various films and television productions, including “Bloodlines” sections on related works and “Deep Cuts” sections collecting additional odd facts and ephemera. All you ever wanted to know about the king of horror onscreen can be found here.

    For many years Argento's ground-breaking shockers like Deep Red, Suspiria, Inferno and Opera meant box-office gold. Now the maverick auteur, lauded as the Italian Hitchcock and the Horror Fellini, has written his autobiography, revealing all about his fascinating life, his dark obsessions, his talented family, his perverse dreams, and his star-crossed work.With candour and honesty, Fear lifts the lid on Argento's glittering career, from his childhood mixing with glamorous Italian movie stars to his start in the fledgling field of cinema criticism, Argento shares compelling anecdotes about his life growing up in La Dolce Vita Rome. Born into a family that breathed cinema, as a child Dario Argento was a voracious devourer of books and films. Bored by school so much that he fled to Paris, the young Dario felt at ease only in the darkness of a cinema - where he found fertile soil in which his solitary nature and overflowing imagination could flourish.But it was his experience as a journalist that led to his life-changing encounter with Sergio Leone, for whom he and Bernardo Bertolucci wrote the script for Once Upon a Time in the West. Meanwhile, the mind of the future director developed a desire as ambitious as it was magnificent: to make a film in a new style, distinct from all others. Channelling the films of Hitchcock, Lang and Antonioni triggered a wealth of ideas that changed the history of cinema.His first film came out in 1970 - The Bird with the Crystal Plumage. In no time at all the name of Dario Argento was known across the globe. And soon enough a series of classic films including Deep Red and Suspiria saw the light of the projector beam. Dario Argento is a maverick auteur who captured his personal demons on celluloid.At last, his fascinating life story can be told: his passions, his loves, his fears. In his autobiography, alongside the tale of an inspirational film director making his mark on the world, one glimpses the anxieties of a driven but shy man, in love with cinema and life itself. Adapted from the Italian translation and illustrated with rare photographs, the award-winning and critically acclaimed Master of Terror tells all. So put on your black leather gloves and start turning the pages of Fear for the answer to every question you've ever wanted to ask about the weird and wonderful world of Dario Argento.

    The screenplays of Omkara and Maqbool will also be published by HarperCollins India at the same time.Shot in Kashmir, the film faced protests from the locals but was able to complete its schedule. The film stars Shahid Kapoor, Tabu, Shraddha Kapoor, Kay Kay Menon and Irrfan Khan. Shahid Kapoor is co-producing Haider along with Bhardwaj and UTV.

    Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) has long been recognised as one of the key artistic expressions of the nuclear age. Made at a time when nuclear war between the United States and the Soviet Union was a real possibility, the film is menacing, exhilarating, thrilling, insightful and very funny.Combining a scene-by-scene analysis of Dr. Strangelove with new research in the Stanley Kubrick Archive, Peter Krämer's study foregrounds the connections the film establishes between the Cold War and World War II, and between sixties America and Nazi Germany. How did the film come to be named after a character who only appears in it very briefly? Why does he turn out to be a Nazi? And how are his ideas for post-apocalyptic survival in mineshafts connected to the sexual fantasies of the military men who destroy life on the surface of the Earth?This special edition features original cover artwork by Marian Bantjes.

    Xavier Aldana Reyes takes a different stance in Body Gothic, celebrating the transgressive qualities of this genre. Reyes considers relevant popular literary and filmic movements of the past three decades and reads them as updates in a long gothic tradition that goes back to the eighteenth century. Body Gothic contains case studies of key texts in splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn, and surgical horror.

    In this sophisticated examination of the HBO serial drama that aired from 2002 until 2008, Linda Williams, a leading film scholar and authority on the interplay between film, melodrama, and issues of race, suggests what exactly it is that makes The Wire so good. She argues that while the series is a powerful exploration of urban dysfunction and institutional failure, its narrative power derives from its genre. The Wire is popular melodrama, not Greek tragedy, as critics and the series creator David Simon have claimed. Entertaining, addictive, funny, and despairing all at once, it is a serial melodrama grounded in observation of Baltimore's people and institutions: of cops and criminals, schools and blue-collar labor, local government and local journalism. The Wire transforms close observation into an unparalleled melodrama by juxtaposing the good and evil of individuals with the good and evil of institutions.

    Many of the leading figures in the field engage in multimedia enterprises that allow their work to reach a much wider public than the mere readers of books. In Disorders of Magnitude: A Survey of Dark Fantasy, Jason V Brock analyzes the intersection of literature, media, and genre fiction in essays, reviews, and pioneering interviews. Beginning with the pulp magazines of the 1920s, Brock studies such dynamic figures as H. P. Lovecraft, Forrest J Ackerman, Harlan Ellison, and the Southern California writers known collectively as "The Group"-Ray Bradbury, Charles Beaumont, Richard Matheson, Rod Serling, and William F. Nolan. This collection also includes filmmakers Roger Corman, George Romero, and Dan O'Bannon, and such fantasy artists as H. R. Giger. Graced with dozens of photographs from the author's personal collection, this wide-ranging study offers a kaleidoscopic look at the multifarious ways in which fantasy, horror, and the supernatural have permeated our culture. Brock-himself a fiction writer, critic, and filmmaker-concludes the book with touching eulogies to the recently deceased Ray Bradbury and Ray Harryhausen. Highlighting so many figures essential to the understanding of fantasy and horror, Disorders of Magnitude will appeal to fans of these fiction genres around the world.

    Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

    This long-awaited volume documents the full breadth of this ambitious new project, the first major series by the artist since the legendary Cremaster cycle. River of Fundament is directly inspired by Norman Mailer's Egyptian novel [book:Ancient Evenings|840250, his infamous classic that chronicled the passage of a narrator through the stations of death and reincarnation. In a sequence of unique live performances, a series of massive sculptures, and, finally, a marathon-length opera in cinematic form, made with the artist's longtime collaborator, the composer Jonathan Bepler, Barney has elaborated a richly perverse and complex universe in which mythology, iconography, narrative, sex, and death are inextricably entwined.Organized according to the narrative structure of the film, the book features sculptures (made from elemental materials such as iron, sulfur, bronze, lead, salt, and copper), drawings, film and live performance stills, storyboards, and original scores by Bepler. A comprehensive essay on the exhibition and film project by Okwui Enwezor provides an overview of the entire project. The book also includes contributions by literary theorist Homi K. Bhabha and critic Hilton Als, as well as facsimiles of the playbills produced for the related live performances.

    DIVERGENT – a major motion picture in 2014.With never-before-seen photos; personal interviews with the directors, actors, and writers; and exclusive extras, this lush, oversize volume is a true behind-the-scenes look at the filming of Divergent.

    This study of Wong's filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong's films are permeated by an aesthetic of sensuousness and "disturbance" achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong's filmmaking. The book also discusses Wong's influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong's films in particular. Gary Bettinson is a lecturer in film studies at Lancaster University, United Kingdom. He is editor of Asian Cinema, the Directory of World Cinema: China and author (with Richard Rushton) of What Is Film Theory? An Introduction to Contemporary Debates. "In this carefully written study, Gary Bettinson offers a critical assessment not only of the stylistic features of Wong Kar-wai's films but also of the scholarship that has developed around them. Arguing against the facile culturalism that tends to dominate such scholarship, this book does full justice to Wong's cinematic methods in a series of impressively well-informed and informative readings." — Rey Chow, Duke University "Gary Bettinson's Sensuous Cinema of Wong Kar-wai is a major step forward in our understanding of this director. Bettinson scrutinizes Wong's unique place in world film culture, his unusual production methods, and his debts to several cinematic traditions, both Asian and European. A close examination of Wong’s style shows, in unprecedented depth, how these lyrical, apparently loosely-constructed films are underpinned by a strong formal and emotional coherence. The result is an unequaled study of a filmmaker whose work, from As Tears Go By to The Grandmaster, has redefined contemporary cinema." — David Bordwell, University of Wisconsin–Madison

    Heavy Metal Movies rounds up, reviews, and canonizes all known incidents of the heavy metal in motion pictures, from performance films, feature documentaries, occult rock 'n' roll horror, and headbanger characters to soundtrack standouts, namesake inspirations, lyrical references, aesthetic archetypes, and more.As brash, irreverent, and visceral as both the music and the movies themselves, Heavy Metal Movies is the ultimate guidebook to the complete molten musical cinema experience.Exploding with over 666 (almost two times over) of the most intense movies of all-time, featuring:Headbanger classics: This Is Spinal Tap, Heavy Metal Parking Lot, Trick or Treat, Black Roses, Black Sabbath, The Decline and Fall of Western Civilization 2: The Metal Years, Rock 'N Roll Nightmare, The Dungeonmaster, River's Edge, Gummo, Lord of the Rings, Over the Edge, RoboCop, Saw, Savage Streets, The Toxic Avenger, Hard Rock Zombies, The Phantom of Paradise, Airheads, Evilspeak, Evil Dead, The Devil’s Rejects, Monster Dog, The Wicker Man...Disturbing documentaries: Metal: A Headbanger's Journey, Some Kind of Monster, Paradise Lost, Faces of Death…Bulging barbarians: Conan the Destroyer, Clash of the Titans, The Sword and The Sorcerer…Satanic shockers: The Exorcist, Rosemary’s Baby, The Devils, House of 1000 Corpses…Splattery slashers: Maniac, Halloween, My Bloody Valentine, Sleepaway Camp…Post-nuke dystopias: Mad Max, Blade Runner, The Road Warrior, Megaforce, Zardoz, Land of Doom, Death Race 2000, Planet of the Apes…Carnivorous chunk-blowers: Cannibal Holocaust, Cannibal Ferox, Bloodsucking Freaks...Undead gut-munchers: Zombie, Dawn of the Dead, Burial Ground, Dead/Alive…Midnight mind-benders: Eraserhead, The Holy Mountain, Caligula, The Warriors, Repo: The Genetic Opera…Concert films and killer cameos by Ozzy Osbourne, Black Sabbath, Judas Priest, Iron Maiden, Napalm Death, Godflesh, White Zombie, Alice Cooper, Helmet, Cannibal Corpse, Kiss, Powermad, and countless fake hair metal bands who end up getting killed onscreen…Plus witches, werewolves, bikers, aliens, lesbian vampires, and vengeful vikings galore, over 1300 sin-ematic sensations in all.

    This book tells the remarkable true story behind the creative and independent-spirit that shaped a legacy, from its cinematic inception and evolution to its ultimate rise to pop culture prominence, covering the most popular, most influential, most overlooked—and of course, the most gory and terrifying—films featuring zombies. Author Ozzy Inguanzo’s insightful, witty, and informative text is complemented by more than 300 photographs, movie posters, and behind-the-scenes images spanning nine decades of classic films including Bela Lugosi’s White Zombie (1932), George Romero’s landmark Night of the Living Dead (1968), and Lucio Fulci’s cult classic Zombie (1979), as well as offerings from blockbuster directors such as Peter Jackson’s Dead Alive (1990), Zack Snyder’s Dawn of the Dead (2004), and more recent entries like the breakthrough series The Walking Dead (2010) and the international sensation World War Z (2013). Expertly curated and filled with images spanning the breadth of cinematic history, ZOMBIES ON FILM is ideal for film fans, students, and pop culture junkies.

    

    And yet his work remains largely ignored by the film community. If only to help develop my own understanding of this complicated filmmaker, I took it upon myself to explore Tyler Perry's body of film work thus far. What I found blew me away in more ways than I can count."

    It offers an in-depth discussion of del Toro's oeuvre and investigates key ideas, recurrent motifs and subtle links between his movies. The book explores the sources that del Toro draws upon and transforms in the creation of his rich and complex body of work. These include the literary, artistic and cinematic influences on films such as Pan's Labyrinth, The Devil's Backbone, Cronos and Mimic, and the directorOCOs engagement with comic book culture in his two Hellboy films, Blade II and Pacific Rim . As well as offering extensive close textual analysis, the authors also consider del Toro's considerable impact on wider popular culture, including a discussion of his role as producer, ambassador for OCygeek' culture and figurehead in new international cinema."

    Malcolm Stewart. Part memoir, part retrospective and part love-letter, Look Back in Horror celebrates the films, actors and directors that made horror history. From the Golden Age of Hollywood, to the Hammer Films Revival of the 60's to the New-School Horror movies of today, Look Back in Horror relives the cinema moments that shaped our lives and warped our brains.

    His idiosyncratic and unorthodox narrative films defy easy categorization, as their seeming existence within realism and personal memory cinema is undermined by an abstractness that makes the way he lays bare personal pain come across as distant, even alien. Film critic Michael Koresky explores the unique emotional tenor of Davies's work by focusing on four paradoxes within the director's oeuvre: films that are autobiographical yet fictional; melancholy yet elating; conservative in tone and theme yet radically constructed; and obsessed with the passing of time yet frozen in time and space. Through these contradictions, the films' intricate designs reveal a cumulative, deeply personal meditation on the self. Koresky also analyzes how Davies's ongoing negotiation of--and struggle with--questions of identity related to his past and his homosexuality imbue the details and jarring juxtapositions in his films with a queer sensibility, which is too often overlooked due to the complexity of Davies's work and his unfashionable ambivalence toward his own sexual orientation.

    Elia Kazan’s lifelong determination to be a “sincere, conscious, practicing artist” resounds in these letters—fully annotated throughout—in every phase of his career: his exciting apprenticeship with the new and astonishing Group Theatre, as stagehand, stage manager, and actor (Waiting for Lefty, Golden Boy) . . . his first tentative and then successful attempts at directing for the theater and movies (The Skin of Our Teeth, A Tree Grows in Brooklyn) . . . his cofounding in 1947 of the Actors Studio and his codirection of the nascent Repertory Theater of Lincoln Center . . . his innovative and celebrated work on Broadway (All My Sons, Cat on a Hot Tin Roof, J.B.) and in Hollywood (Gentleman’s Agreement, Splendor in the Grass, A Face in the Crowd, Baby Doll) . . . his birth as a writer. Kazan directed virtually back-to-back the greatest American dramas of the era—by Arthur Miller and Tennessee Williams—and helped shape their future productions. Here we see how he collaborated with these and other writers: Clifford Odets, Thornton Wilder, John Steinbeck, and Budd Schulberg among them. The letters give us a unique grasp of his luminous insights on acting, directing, producing, as he writes to and about Marlon Brando, James Dean, Warren Beatty, Robert De Niro, Boris Aronson, and Sam Spiegel, among others. We see Kazan’s heated dealings with studio moguls Darryl Zanuck and Jack Warner, his principled resistance to film censorship, and the upheavals of his testimony before the House Committee on Un-American Activities. These letters record as well the inner life of the artist and the man. We see his startling candor in writing to his first wife, his confidante and adviser, Molly Day Thacher—they did not mince words with each other. And we see a father’s letters to and about his children. An extraordinary portrait of a complex, intense, monumentally talented man who engaged the political, moral, and artistic currents of the twentieth century.

    Markopoulos contains some ninety out-of-print or previously unavailable articles by the Greek-American filmmaker who, as a contemporary of Kenneth Anger, Stan Brakhage and Andy Warhol, was at the forefront of a movement that established a truly independent form of cinema. Beginning with his early writings on the American avant-garde and auteurs such as Dreyer, Bresson and Mizoguchi, it also features numerous essays on Markopoulos' own practice, and on films by Robert Beavers, that were circulated only in journals, self-published editions or programme notes. The texts become increasingly metaphysical and poetic as the filmmaker pursued his ideal of Temenos, an archive and screening space to be located at a remote site in the Peloponnese where his epic final work could be viewed in harmony with the Greek landscape. Gregory J. Markopoulos (1928-1992) is a unique figure in film history, whose life's work stands in testament to his strength of vision and commitment to the medium."This collection of writings by a key figure of the New American Cinema complements, illuminates and extends an incomparable body of work. Equal parts theory, criticism and mythical prose, the texts reflect the charisma and originality of its author - and his enduring romanticism. Brandished by the same absolutes and passion that fuel his films, Film as Film is a seminal addition to film scholarship and film history." (Andréa Picard, Toronto International Film Festival)Film as Film: The Collected Writings of Gregory J. Markopoulos is edited by Mark Webber and has a foreword by P. Adams Sitney.Table of Contents:IntroductionFilm as Film: An Introduction, Mark WebberForewordMarkopoulos Writings, P. Adams SitneyI: Cinema, The Ideal (An Exposition)The Responsibility of the Cinema in Our Age, c.1955 Cinema The Ideal, 1960 Sto Palikari, 1968 Towards a Constructive Complex in Projection, 1968A Supreme Art in a Dark Age, 1971 Dante Present, 1971 Inherent Limitations, 1966 The Pyramid of Sight, 1986 The Intuition Space, 1973II: Avant-Garde Chronicle (On Films & Filmmakers)A Part of the Alphabet, 1961 Overtime, 1961 Avant-Garde Chronicle, 1963 Projection of Thoughts, 1964 Judgement Through Bad Conscience, 1965 What Are You Ready For?, 1965 Institutions Customs Landscapes, 1966 The Golden Poet, 1962 Scorpio Rising, 1963 Innocent Revels, 1964 Three Filmmakers, 1964 Stille Nacht, 1961 Jean Genet’s Only Film: Un chant d’amour, 1961 Film of the Absurd, 1962 Negatives, 1968 Robert Bresson: A Brief Survey, 1962 The Marvels and Lamentations of Mizoguchi, 1968III: Disclosed Knowledge (On Markopoulos)L’Arbre aux champignons, 1950 Psyche’s Search for the Herb of Invulnerability, 1955 A Note for Hans Van Manen, 1971 Bruised by the Critics, 1966 Whither Motion Pictures, 1985 From Fanshawe to Swain, 1966 Statement Concerning Cinema, 1963 Towards a New Narrative Film Form, 1963Twice a Man Statement, 1965 The Driving Rhythm, 1966 Twice a Man, Three Time Prize Winner, 1966 Galaxie, 1966 The Filmmaker as Physician of the Future. 1967 A Note (for Jean-Paul Vroom), 1971 The Divine Attributes, 1970 Correspondences of Smell and Visuals, 1967 Towards a New Sound Complement for Motion Pictures, 1967 Adventures with Bliss in Roma, 1967 The Adamantine Bridge, 1968 Disclosed Knowledge, 1970 Rebus, 1970 The Redeeming of the Contrary, 1971 The Celestial Inheritance, 1971IV: The Threshold of the Frame (On Robert Beavers)10th of July, 1967 The Siege of Bruxelles, 1968 Circumbendibus Notes, 1968 “And I Shall Pull Things From the Stars”, 1972 From First Creative Steps Forward, 1971 The Language of Diamonds, 1970 Love’s Task, 1971 In Other Words It Is His Tongue, 1971 Art Is Not Knowledge, 1973 The Threshold of the Frame, 1974 Clarity Upon Clarity Through Reflection, 1974 The Gathering of Perception and Judgement, 1974 Erb and Tree, 1975 Πνοιη (Pnoee), 1976V: Towards a Temenos (On Temenos)Formal Account, 1970 Towards a Temenos, 1970 A Solemn Pause, 1971 The Filmmaker’s Perception in Contemplation, 1972 The Complex Illusion, 1972 Element of the Void, 1972 Towards a Complete Order, 1974 The Usury of the Creative Soul, 1976 Ηρακλής (Heracles), 1978 Εικόνες Αυτών (Ikones Auton), 1979 Προνώπιον (Pronopion), 1980 Ένθεος (Entheos), 1980 Aei!, 1981 Mosholibano, 1981 The Silk Road, 1982 The Ancient Future, 1983 Proposal to the Architect of the Temenos, 1984 The High Tableland, 1984 Ανάλαμψις (Analampsis), 1985 Message for D. W. Griffith, 1985 Hues Point, 1985 Αεί Καλόν (Aei Kalon A), 1985 Αεί Καλόν (Aei Kalon B), 1985 The Amygdaline Grove, 1986 The Bread of Angels, 1987 Unification of the Frame, 1990 The Future of the Temenos and its Boundaries, 1992 Ακρόπολης γης (Acropolis Gis), 1992Images 16 pages of colour and black & white imagesincluding film stills, production photos and archive materialsEndnotesAppendix I: Filmography of Gregory J. MarkopoulosAppendix II: Publications supervised by Gregory J. MarkopoulosAlphabetical Index of Titles

    Shooting under available light gives exposure, but lacks depth, contrast, contour, atmosphere and often separation. The story could be the greatest in the world, but if the lighting is poor viewers will assume it's amateurish and not take it seriously. Feature films and TV shows, commercials and industrial videos, reality TV and documentaries, even event and wedding videos tell stories. Good lighting can make them look real, while real lighting often makes them look fake.Lighting for Cinematography, the first volume in the new CineTech Guides to the Film Crafts series, is the indispensable guide for film and video lighting. Written by veteran gaffer and cinematographer David Landau, the book helps the reader create lighting that supports the emotional moment of the scene, contributes to the atmosphere of the story and augments an artistic style. Structured to mimic a 14 week semester, the chapters cover such things as lighting for movement, working with windows, night lighting, lighting the three plains of action and non-fiction lighting. Every chapter includes stills, lighting diagrams and key advice from professionals in the field, as well as lighting exercises to help the reader put into practice what was covered.

    Refusing to answer questions about his prior involvement with the Communist Party, Trumbo sacrificed a successful career in Hollywood to stand up for his rights and defend political freedom.In "Dalton Trumbo," authors Larry Ceplair and Christopher Trumbo present thier extensive research on the famed writer, detailing his work, his membership in the Communist Party, his long campaign against censorship during the domestic cold war, his ten-month prison sentence for contempt of Congress, and his thirteen-year struggle to break the blacklist.The blacklist ended for Trumbo in 1960, when he received screen credits for "Exodus" and "Spartacus." Just before his death, he received a long-delayed Academy Award for "The Brave One," and in 1993, he was posthumously given an Academy Award for "Roman Holiday" (1953). This comprehensive biography provides insights into the many notable people with whom Trumbo worked, including Stanley Kubrick, Otto Preminger, and Kirk Douglas, and offers a fascinating look at the life of one of Hollywood's most prominent screenwriters and his battle against persecution.

    Merchants of Menace: The Business of Horror Cinema responds to a major void in film history by shedding much-needed new light on the economic dimensions of one of the world's most enduring audiovisual forms. Given horror cuts across budgetary categories, industry sectors, national film cultures, and media, Merchants of Menace also promises to expand understandings of the economics of cinema generally. Covering 1930-present, this groundbreaking collection boasts fourteen original chapters from world-leading experts taking as their focus such diverse topics as early zombie pictures, post-WWII chillers, Civil Rights-Era marketing, Hollywood literary adaptations, Australian exploitation, "torture-porn" Auteurs, and twenty-first-century remakes.

    These West Coast actors elevated The Ivy Look to the height of cool and defined a quintessentially American male dress code for a new generation of movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components of The Ivy Look didn't shout -look at me!- but instead gave off an image of approachable correctness and laid back confidence. Exhaustively compiled, this coffee table volume to take an in-depth look at how -Ivy- established itself as the epitome of Hollywood style, gained a new democratic global following and a place in history as the look of modern America.

    This is the story of his depression and recovery--a recovery of health, vocation, and faith. First, Griggs regained the experience of small pleasures. Eventually, he recovered the ability to choose, to set limits, and to accept reality. He then turned to the biblical Psalms--indeed his own writing echoes their candor. But he also found hope in films, including Breakfast at Tiffany's and Blazing Saddles. To the mental health issues facing clergy and others in the helping professions Griggs brings to bear insights from research and from his own experience as a pastor and a person recovering from depression. He tells his story with spirit and humor. "A profound and engaging account of the author's journey back from a crushing depression with the help of interaction with other patients, the honesty of diverse psalms, the insights of imaginative films, and the creative ideas of progressive theologians." --Ian G. Barbour, author of When Science Meets Religion "It is remarkable that the Psalms are transportable from ancient context to contemporary context. Robert Griggs has deftly transported them into his own story of depression, anguish, and recovery of health, life, and faith. This book offers honest, courageous testimony, the telling of a life that will encourage others to tell their lives with truth and live in hope." --Walter Brueggemann, author of Praying the Psalms Robert Griggs is an ordained minister in the United Church of Christ and has served churches in Massachusetts, New Hampshire, and Minnesota. He holds graduate degrees from Harvard Divinity School, the University of Minnesota, and Andover Newton Theological School.

    Presented as a "videotaped confession," it tells the story of Polly Vandersma, an unpretentious and introverted young woman who takes photographs as a hobby and works as a personal assistant to an elegant and sophisticated, but unsatisfied, art gallery director, Gabrielle St. Peres, whom she worships. This book presents a new close textual analysis of Mermaids that places this complex yet teachable film unquestionably within the global queer film canon while uncovering many of its complexities. The film has appeared on the Maclean's "Top 10 Films of the 20th Century" and Toronto International Film Festival's Best 10 Canadian Films of All Time.Julia Mendenhall, a longtime fan of the film, places it in the context of the director's life experiences and her filmic oeuvre, the production and reception history of the film within the mid to late 1980s and the 1990s era of "outing," and the development of queer theory.

    The Science of On-Camera Acting challenges classic and contemporary acting approaches through an examination of the camera’s unique perspective and what neuroscience now tells us about how our brains actually work. Featuring exclusive insights from one of the most influential psychologists of the past century, Dr. Paul Ekman, this unique, streamlined, science-based approach offers mastery of naturalism, comedy, and complex character work in the short time actors have to prepare for auditions and bookings. At the same time, these techniques keep actors out of their heads and grounded in impulse and inspiration while still delivering in a highly competitive field. Many well-intended books and approaches geared toward actors misappropriate science and use pop psychology to validate their teachings. The Science of On-Camera Acting is a groundbreaking approach that offers a comprehensive, scientifically demonstrable path for actors to access their deep reservoirs of creativity and talent. Order this book to learn a method that surpasses theory and actually works.

    Bruce Dern excels as lonely hero Freeman Lowell, cast adrift in deep space with three robotic 'Drones' who become his 'amazing companions' on a journey 'beyond imagination'.Mark Kermode, writing on his favourite science fiction film of all time, traces Trumbull's sentimental masterpiece from its roots in the counter-culture of the sixties to its enduring appeal as a cult classic in the 21st century. Drawing on a new interview with Trumbull, Kermode examines both the technical and thematic elements of this uniquely moving space adventure, which continues to be mirrored and imitated by film-makers today.This special edition features original cover artwork by Olly Moss.

    Louis to Fred Astaire and Ginger Rogers's last dance on the silver screen to Judy Garland's tuxedo-clad performance of "Get Happy", Charles Walters staged the iconic musical sequences of Hollywood's golden age. The Academy Award-nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, and Frank Sinatra--yet Walters's name often goes unrecognized today.In the first full-length biography of Walters, Brent Phillips chronicles the artist's career from his days as a Broadway performer to his successes at Metro-Goldwyn-Mayer. Phillips takes readers behind the scenes of beloved musicals including Easter Parade, Lili, and High Society. He also examines the director's uncredited work on films like Gigi, and discusses his contributions to musical theater and American popular culture.This revealing book also considers Walters's personal life and explores how he navigated the industry as an openly gay man. Drawing on unpublished oral histories, correspondence, and new interviews, this biography offers an entertaining and important new look at an exciting era in Hollywood history.

    Through critical examination of the film's distinctive treatment of perennial philosophical issues including human nature, personhood, identity, consciousness, free will, morality, God, death, time, and the meaning of life, the distinctive philosophy of Blade Runner is explored and assessed. The result is an engaging philosophical exploration of the greatest science fiction film of all time and a unique contribution to the philosophy of film that invites readers to ponder questions of universal human significance: Where did I come from? Where am I going? How long have I got?

    Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors—Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer’s personal life and a thorough analysis of his wide-ranging, eclectic films—features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer’s unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer’s fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.

    Now she strips bare the art and craft of directing actors for the camera, from casting a film to the moment of first screening when the work goes public.A brilliant writer for the screen, here Potter shows herself to be expert at translating the experience of film directing to the page. She addresses us in prose that is both unsentimental and inspired, tracing the energies that pass between actor, director and audience; shaping for the reader the acts of transmission and imagination, performance and witness, the sum of which make up a film.In addition to the core text, the book contains interviews with actors with whom Sally Potter has worked, whose voices will counterpoint Sally Potter's, and will inform and illuminate the reader's sense of her work. Those interviewed include: Julie Christie, Jude Law, Judi Dench, Simon Abkarian, Annette Benning, Timothy Spall, Steve Buscemi, Riz Ahmed, Elle Fanning, Alessandro Nivola, and Lily Cole.

    Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like "Mur, Murs/Documenteur" (1980--81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

    Through her filmmaking, writing, and cine-club activism, Dulac’s passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth century film history and theory.In Germaine Dulac: A Cinema of Sensations, Tami Williams makes unprecedented use of the filmmaker's personal papers, production files, and archival film prints to produce the first full-length historical study and critical biography of Dulac. Williams's analysis explores the artistic and sociopolitical currents that shaped Dulac's approach to cinema while interrogating the ground breaking techniques and strategies she used to critique conservative notions of gender and sexuality. Moving beyond the director’s work of the 1920s, Williams examines Dulac's largely ignored 1930s documentaries and newsreels establishing clear links with the more experimental impressionist and abstract works of her early period.This vivid portrait will be of interest to general readers, as well as to scholars of cinema and visual culture, performance, French history, women’s studies, queer cinema, in addition to studies of narrative avant-garde, experimental, and documentary film history and theory.

    Nicholson's twelve Oscar nominations make him the most nominated male actor in history.Jack Nicholson: Anatomy of an Actor is a new addition to Cahiers du cinema, a fascinating series from the world-renowned cinema magazine. The book focuses on ten key performances, exploring the unparalleled career of Jack Nicholson through narrative and analytical text accompanied by 300 images, including film stills and set photographs, as well as film sequences, script notes, and more. This thoughtful and lively examination of Nicholson's craft will appeal to film professionals and casual movie fans alike.

    But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, and investigate topics as disparate as Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration shows the impact of race and gender, history and sexuality, technology and transnationality on the genre. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike. Contributors: Krin Gabbard, Philippa Gates, Julie Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.

    Nathan Andersen brings Stanley Kubrick s film "A Clockwork Orange" into philosophical conversation with Plato s "Republic," comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. At the heart of the book is a novel account of the analogy between Plato's allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from "A Clockwork Orange," in which the lead character is strapped to a chair and forced to watch violent films.Whereas Plato compares the whole range of ordinary experience to shadows on the wall of a darkened cave, the author suggests that, in relation to cinema, audiences have the advantage that they know these shadows are not real. The result is that cinema more easily provokes the kinds of philosophical concerns it takes a special discipline to consider in relation to everyday life. This account of Plato s cave contrasts with the more usual reading according to which images and art, and by implication cinema, only serve to bind their spectators more deeply to the shadows. Films like "A Clockwork Orange" demonstrate that while images can have a powerful impact on the attitudes of audiences, they also have the power to provoke them to critically examine their most basic assumptions.Key features of the book include:A bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film, aimed at readers who wish to pursue these themes further; A list of suggested films that can be profitably explored following the approach in this book, containing brief descriptions of the film, and suggestions toward a philosophical reading of the film in question; A glossary defining key terms from both philosophy and film studies that are mentioned or employed within the text; A summary of Plato s "Republic," book by book, that highlights both dramatic context and subject matter, and that functions as a supplement to the book for readers who have not read this classical philosophical text in its entirety or who need a reminder of its scope.Offering a close reading of the controversial classic film "A Clockwork Orange," and an introductory account of the central themes of the philosophical classic "The Republic," this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick.

    Quirky and ingenious, heartfelt and campy, Kuchar's movies know no boundaries and are an entirely unique development in the history of cinema. The artist's characteristic instinct for kitsch, his humor and conceptual brilliance, were not confined to the screen alone; they can be glimpsed in all the activities he carried out throughout his life. "The George Kuchar Reader," edited by Andrew Lampert, collects a wide swath of previously uncollected and newly unearthed writings and visual work, including essays, comics, drawings, paintings, photographs, film stills, scripts, movie blurbs, correspondence, letters of recommendation for his students, documentation of his UFO sightings, excerpts from his dream journal, selections from his private notebooks and much more.

     Woody Allen: Reel to Real is the first DigiDialogue from Take2Publishing … a product and a process where the author inspires a discourse between and amongst himself and his audience … Everyone has an opinion of Woody Allen, whether those opinions come from a learned perspective, or from the tabloids … and Sheremet's excitingly exhaustive analysis is the perfect fodder to generate and further this unique form of dialogue The genesis of this DigiDialogue is the Woody Allen:Reel to Real website, established some months ago to have Sheremet and his 'readers' further explore, expand and explain the theses he presents. On that site one can find a combination of faithful summaries of the key chapters of this book and one key chapter in its entirety … all married to dedicated 'Comment Boxes' that serve to propagate the dialogue. This version of the book contains Sheremet’s complete and original text in its entirety plus the initial dialogue that ensued from the DigiDialogue web-site. The dialogue between Sheremet and noted writers and critics, including Jonathan Rosenbaum and Dan Schneider, highlight much of Sheremet's unique perspective on Woody Allen and Sheremet's view of the debates that accompany him. Updated versions of this book will be released in the future, containing the continuing dialogue … and will be made available to all official purchasers free of charge. (The details can be found in the Publisher's Note inside the book.) According to John Pruzanski, managing publisher of Take2 Publishing, "the advent and popular uptake of eBooks finally provides the platform to open up the publishing world to new forms and factors and DigiDialogues have been specifically formulated to perform the task of bringing the readers into the publishing process."

    Written in a fast-paced, easy-to-understand fashion, the book addresses such topics as what film direction is; the history of the profession; how to become a director; the creative and practical duties and challenges of a film director in the three stages of making a movie (preproduction, production, and postproduction); working with actors; working with the members of the technical crew (cinematographers, editors, production designers, etc.); the director's support team (assistant director, production manager, and so on); and the business of being a film director. It also offers a brief look at some of the greatest and most influential film directors in the history of the cinema.

    Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935--1950).Slowik follows filmmakers' shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of "King Kong" and its groundbreaking approach to film music, challenging the film's place and importance in the timeline of sound achievement.

    Drawing on the well-established conventions of pulp fiction and blood-and-thunder stage melodrama, the motion-picture chapter play thrilled viewers of all ages and, more importantly, helped make moviegoing a weekly habit for millions of Americans during the Teens and Twenties. Author and film historian Ed Hulse, the editor of publisher of BLOOD 'N' THUNDER magazine, opens the book with a 25,000-word overview of this unique film form, debunking old myths and putting the silent serial in its proper historical context. The bulk of the book is devoted to Pathe Exchange, the company that employed the most popular stars (serial queens Pearl White, Ruth Roland, and Allene Ray) and released the most successful and influential chapter plays (THE PERILS OF PAULINE, THE EXPLOITS OF ELAINE, THE TIMBER QUEEN, THE GREEN ARCHER). Hulse presents a comprehensive behind-the-scenes look at Pathe's output, impeccably sourced and featuring first-hand recollections from people who were part of those halcyon days. DISTRESSED DAMSELS AND MASKED MARAUDERS has more than 250 illustrations: rare movie stills, posters, advertisements, lobby cards, candid on-set snapshots, even frame captures from the films themselves. Most of these have never before been reprinted. Hulse has in painstaking detail recaptured this remarkable period in motion-picture history, and even those film buffs with limited interest in serials will be fascinated by this evocative history of the chapter play."

    Born the daughter of a wealthy construction company owner from Philadelphia in 1929, her wedding day gave her a new role: the princess and first lady of the Monegasques. Her career started in 1952 with Fred Zinnemann's Western classic High Noon. Her final picture, released in the year of her princely wedding, was titled High Society-- a peculiar irony of history. Of the eleven movies Grace Kelly made in just four years, the three Hitchcock classics Dial M for Murder, Rear Window (both in 1954), and To Catch A Thief (1955) undoubtedly represent great moments in cinematic history. Blonde, beautiful, and always somewhat reserved, she was the ideal choice for his black comedies. Paying homage to Grace Kelly, the actress and film star who went on to become Princess Grace of Monaco before suffering a fatal car accident in 1982, our book is also an oblique tribute to her favorite director, Alfred Hitchcock.

    Even those who view his work favorably often see it as essentially optimistic, reassuring, and conservative. James Kendrick takes an alternate view of Spielberg's cinema and proposes that his films—even the most popular ones that seem to trade in easy answers and comforting, reassuring notions of cohesion and narrative resolution—are significantly darker and more emotionally and ideologically complex than they are routinely given credit for.Darkness in the Bliss-Out demonstrates, through close analysis of a wide range of Spielberg's films, that they are only reassuring on the surface, and that their depths embody a complex and sometimes contradictory view of the human condition.

    With the help of his closest companion - a robot named Baymax - Hiro joins forces with a reluctant team of first-time crime fighters on a mission to save their city.Packed full of fun facts, character profiles, and amazing stills from the movie, Big Hero 6: The Essential Guide is the ultimate guide to Disney's newest hit film.

    The competition spanned three months and nearly 500 entries, the top five of which are presented in this e-book only special. Through the eyes of Gelfling and telling tales of Skesis, these 5 stories are a taste of what is to come in the world of Thra.

    In this collection of 35 essays drawn from his revered Cult Movies series, cult film specialist Danny Peary examines, dissects, defends, and exalts crime films from his unique and engaging perspective. His writing is a cornerstone of the cult film culture that continues to flourish today. New to this ebook series are Danny Peary’s cult movie checklists for each genre. Every crime fan will walk away with newly discovered gems to watch, and a newfound appreciation of his or her favorites.

    Master timesaving tricks and techniques that utilize the latest Media Composer features and state of the art workflows. Learn the secrets of the postproduction professionals from box office blockbusters like "Harry Potter," "I am Legend," "Dark Shadows," "Men in Black II," "Charlie s Angels," "42," and "The Last of the Mohicans," as well as primetime hits like "SMASH," "Big Bang Theory," "Criminal Minds," "Weeds," "The Mindy Project," and "Mythbusters."In "Avid Uncut," Steve Hullfish taps into the expertise of the world s top editors to share in-depth, behind-the-scenes secrets and best practices that will boost your editing and color correction skills to the next level. Five distinct sections cover:* Pre-post, including discussion of metadata, prepping ScriptSync, decomposing, and more* Settings, with tips on keyboard optimization, bin settings, and import/export settings * Off-line workflows on trimming, multicam editing, using Phrasefind, audio, and stereoscopic 3D * Effects, such as 3rd party plugins, 3D warp effects, and Animatte * On-line workflows for efficiently and beautifully finishing your work, including step-by-step tutorials for RED and ARRI Alexa workflowsAlso featured are extensive tips dedicated to helping FCP editors switch over to Avid, as well as a companion website (www.focalpress.com/cw/hullfish) loaded with video tutorials of the techniques discussed in the book and project files, including RED and ARRI Alexa footage, that turn "Avid Uncut" into an invaluable, hands-on workshop!

    Whether you are a student in a screenwriting class or just someone who wants to try their hand at writing for film or television, this handy guidebook makes the entire process simple and unintimidating. Scott Winfield Sublett, a veteran screenwriter and screenwriting teacher, walks you step by step from start to finish and helps you navigate potential and unforeseen difficulties along the way, offering handy tips and suggestions to keep you from becoming blocked or stalled. Rather than throwing you into the writing process headfirst, Sublett guides you through the various decisions you need to make—about plot, character, structure, conflict—in the order you need to make them. He explains in straightforward terms the terminology and jargon, the theory and industry standards, and dispels common myths about screenwriting that can discourage or hold back a beginning writer. Balancing theory and practice and offering valuable and insightful examples from recognizable and well-known classic and contemporary films, ranging from Casablanca to A Christmas Story to Clerks, Sublett provides the new writer with the necessary tools to successfully write a feature-length screenplay and offers a roadmap of where to go next. With an emphasis on helping a writer not just to begin, but also to finish a script, Screenwriting for Neurotics is the screenwriting book to help you actually write one.