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.

    Detailed. Practical. Set Lighting Technician's Handbook, Third Edition is a friendly, hands-on manual covering the day-to-day practices, equipment, and tricks of the trade essential to anyone doing motion picture lighting. This handbook offers a wealth of practical technical information, useful techniques, as well as aesthetic discussions. The Set Lighting Technician's Handbook focuses on what is important when working on-set: trouble-shooting, teamwork, set protocol, and safety. It describes tricks and techniques for operating a vast array of lighting equipment including xenons, camera synchronous strobes, black lights, underwater units, lighting effects units, and many others. Since its first edition, this handy on-set reference continues to be widely adopted as a training and reference manual by union training programs as well as top university film production programs. New in the third edition is an expanded resource section, new illustrations and tables, and coverage of new lighting products and techniques for how to use them.

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood's consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film. Todd McCarthy's introduction, written especially for this edition, provides an overview of Alton's biography and career and explores the influence of his work on contemporary cinematography.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    Now completely revised and updated, it clearly and concisely covers what today's filmmaker needs to know about camera structure and operation, lenses, film stocks, filters, lighting and light measuring, and accessory equipment. In addition it provides up-to-date information on sound recording, editing, video transfer, studio and location shooting, production logistics, and modern techniques of picture manipulation with optical printers -- a subject rarely treated in such detail in existing film books. Building on the groundwork he lays, Kris Malkiewicz explores more advanced techniques of overall picture quality control -- how the filmmaker can translate the envisaged image to the screen through coordinating all aspects of cinematography. As Malkiewicz explains, whatever concept is desired, the filmmaker must be in full control of the technology in order to ensure success. Illustrated with more than 350 photographs and drawings, this new second edition of "Cinematography" will continue to prove invaluable to filmmakers, film students, and film teachers.

    Rashomon, which won both the Venice Film Festival's grand prize and an Academy Award for best foreign-language film, helped ignite Western interest in the Japanese cinema. Seven Samurai and Yojimbo remain enormously popular both in Japan and abroad. In this newly revised and expanded edition of his study of Kurosawa's films, Stephen Prince provides two new chapters that examine Kurosawa's remaining films, placing him in the context of cinema history. Prince also discusses how Kurosawa furnished a template for some well-known Hollywood directors, including Martin Scorsese, Steven Spielberg, and George Lucas.Providing a new and comprehensive look at this master filmmaker, The Warrior's Camera probes the complex visual structure of Kurosawa's work. The book shows how Kurosawa attempted to symbolize on film a course of national development for post-war Japan, and it traces the ways that he tied his social visions to a dynamic system of visual and narrative forms. The author analyzes Kurosawa's entire career and places the films in context by drawing on the director's autobiography--a fascinating work that presents Kurosawa as a Kurosawa character and the story of his life as the kind of spiritual odyssey witnessed so often in his films. After examining the development of Kurosawa's visual style in his early work, The Warrior's Camera explains how he used this style in subsequent films to forge a politically committed model of filmmaking. It then demonstrates how the collapse of Kurosawa's efforts to participate as a filmmaker in the tasks of social reconstruction led to the very different cinematic style evident in his most recent films, works of pessimism that view the world as resistant to change.

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

    This down-and-dirty romp through Hollywood in the 1970s introduces the young filmmakers--Coppola, Scorsese, Lucas, Spielberg, Altman, and Beatty--and recreates an era that transformed American culture forever.

    2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood.” Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern.More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era’s great geniuses.“[Bergman] has found a way to show the soul’s landscape . . . . Many gripping revelations.”—New York Times Book Review“Joan Tate’s translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere.”—New Republic“[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes.”—New York Times“What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No ‘tell-all’ book this one, but revealing in ways that much longer and allegedly ‘franker’ books are not.”—Library Journal

    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.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.