(“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe’s intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multi-faceted talent. Goodbye Cinema, Hello Cinephilia gathers together over fifty examples of Rosenbaum’s criticism from the past four decades, each of which demonstrates his passion for the way we view movies, as well as how we write about them. Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum’s polemics concerning the digital age. From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn’t disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era. As we move into this new decade of moviegoing—one in which Hollywood will continue to feel the shockwaves of the digital age—Jonathan Rosenbaum remains a valuable guide. Goodbye Cinema, Hello Cinephilia is a consummate collection of his work, not simply for fans of this seminal critic, but for all those open to the wide variety of films he embraces and helps us to elucidate.

    This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, and discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

    Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, "You'll be fascinated.

    New in this edition are entries to describe such film hits as "Lord of the Rings", "Mystic River", "Fahrenheit 9/11", and "Million Dollar Baby". But in fact, this volume's team of critics goes back to 1902, describing such films as "The Great Train Robbery", and progressing chronologically across the decades to cover the best cinematic dramas, comedies, westerns, musicals, suspense and horror films, gangster classics, "films noirs", sci-fi epics, documentaries, and adaptations of novels and stage plays made by filmmakers around the world. Movie fans will find descriptions of great musicals like "Singing in the Rain", westerns like "High Noon", science-fiction classics like "Star Wars", dramas like "Chinatown" and "Schindler's List", and international classics from master directors who include Fellini, Antonioni, Resnais, Truffaut, Eisenstein, Kurosawa, and many others.Each entry includes a full list of cast and credits, awards won by the film, an essay summarizing the story line and screen-history, and still shots of the film's memorable scenes. At the back of the book, both an alphabetical index and a genre index will help readers find any film they're looking for. The book is illustrated with hundreds of movie still shots in color and black and white.

    More Than Night discusses such pictures. It also shows that the central term is more complex & paradoxical than realized. Film noir refers both to an important cinematic legacy & to an idea projected onto the past. This wide-ranging cultural history offers an original approach to the subject, as well as new production information & commentary on scores of films, including Double Indemnity, The Third Man, & Out of the Past, & such neo-noirs as Chinatown, Pulp Fiction & Devil in a Blue Dress. Naremore discusses film noir as a term in criticism; as an expression of artistic modernism; as a symptom of Hollywood censorship & politics in the 40s; as a market strategy; as an evolving style; as a cinema about race & nationality & as an idea that circulates across all information technologies. This interdisciplinary book has valuable things to say not only about film & tv, but also about modern literature, the fine arts & popular culture in general. In a field where much of what's published is superficial & derivative, this work is certain to be received as a definitive treatment.

    It covers such characters as Buster Keaton, Charlie Chaplin, Harold Lloyd and Laurel and Hardy.

    From The Cabinet of Dr. Caligari onwards the principal films of this period were characterized by two influences: literary Expressionism, and the innovations of the theatre directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings. It discusses the influence of the theatre: the handling of crowds; the use of different levels, and of selective lighting on a predominately dark stage; the reliance on formalized gesture; the innovation of the intimate theatre. Against this background the principal films of the period are examined in detail. The author explains the key critical concepts of the time, and surveys not only the work of the great directors, such as Fritz Lang and F. W. Murnau, but also the contribution of their writers, cameramen, and designers. As The Times Literary Supplement wrote, 'Mme. Eisner is first and foremost a film critic, and one of the best in the world. She has all the necessary gifts.' And it described the original French edition of this book as 'one of the very few classics of writing on the film and arguably the best book on the cinema yet written.'

    

    Mark Cousins’s chronological journey through the worldwide history of film is told from the point of view of filmmakers and moviegoers. Weaving personalities, film technology, and production with engaging descriptions of groundbreaking scenes, Cousins uses his experience as film historian, producer, and director to capture the shifting trends of movie history. We learn how filmmakers influenced each other; how contemporary events influenced them; how they challenged established techniques and developed new technologies to enhance their medium. Striking images reinforce the reader’s understanding of cinematic innovation, both stylistic and technical. The images reveal astonishing parallels in global filmmaking, thus introducing the less familiar worlds of African, Asian, and Middle Eastern cinema, as well as documenting the fortunes of the best Western directors. The Story of Film presents Silent (1885-1928), Sound (1928-1990), and Digital (1990-present), spanning the birth of the moving image; the establishment of Hollywood; the European avant-garde movements, personal filmmaking; world cinema; and recent phenomena like Computer Generated Imagery and the ever-more “real” realizations of the wildest of imaginations. The Story of Film explores what has today become the world’s most popular artistic medium.

    It places the burgeoning world of cinema in the context of social and cultural developments that have taken place since its beginnings. Organized chronologically, the book traces the evolution of cinematic development, from the earliest days of film projection to the multiscreen cinemas and super-technology of today. Illustrated, in-depth text charts every genre of cinema, from the first silent films to epic blockbusters, CGI graphics and groundbreaking effects of the 21st century. Cinema: The Whole Story is an indispensable book for all those who love watching and reading about films and who want to understand more about the world of cinema.

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

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

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.