More than 250 artworks, including rarely seen concept sketches, background paintings, and cels illustrate the genius of Walt Disney and the creative vision of the artists who produced a beloved milestone in cinematic history.In 1933, Walt Disney was a rising star in the world of animation, just beginning to become a household name. Ambitious new ideas emerged from the Disney studio on a regular basis, and the film world waited eagerly to see what the creative young filmmaker would do next. The answer surprised them all: a full-length animated feature film, based on the traditional tale Snow White and the Seven Dwarfs. The production took three years and the talents of many of Hollywood’s top artists . . . and, of course, created one of the best-loved classics of all time. This book, based on a ground-breaking exhibition of both familiar and never-before-seen art from the Walt Disney Animation Research Library, walks the reader scene by scene through the movie, accompanying the art with behind-the-scenes stories about the film’s production. The book features over 200 pieces of art, many reproduced from original concept sketches, background paintings, and production cels, as well as alternate character concepts, deleted scenes, and step-by-step process shots.

    This book will be the perfect accompaniment to the exhibition, which focuses on del Toro’s creative process, including the well-defined themes that he obsessively returns to in all his films, the journals in which he logs his ideas, and the vast and inspiring collection of art and pop culture ephemera that he has amassed at his private “man cave,” Bleak House. Filled with imagery from the exhibit, including favorite pieces of art that del Toro has chosen for the exhibit, and pertinent journal pages, the book will further delve further into the director’s world through exclusive in-depth interviews and commentary from notable figures in the art world. Forming a perfect companion to the exhibition, this book will deliver an engrossing look into the mind of one of the great creative visionaries of our time.

    It is an inexhaustible mine of anecdotes, quotations, images, curious facts and useless information, oddities, serious science, jokes and memories, all concerned with the interplay between the verbal and the visual, and the limitless resources of the human mind. Loosely arranged in 72 chapters, all this material is presented in a wonderfully inventive series of pages that are themselves masterly demonstrations of the expressive use of type, space, color and imagery.This book does not set out to teach lessons, but it is full of wisdom and insight collected from all over the world. Describing himself as a visual jackdaw, master designer Alan Fletcher has distilled a lifetime of experience and reflection into a brilliantly witty and inimitable exploration of such subjects as perception, color, pattern, proportion, paradox, illusion, language, alphabets, words, letters, ideas, creativity, culture, style, aesthetics and value.The Art of Looking Sideways is the ultimate guide to visual awareness, a magical compilation that will entertain and inspire all those who enjoy the interplay between word and image, and who relish the odd and the unexpected.

    Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.

    

     Dramatically raising the bar for realism and invention, his trademark battle-weary spacecraft, dramatic alien landscapes and crumbling brutalist architecture irrevocably changed the aesthetic of science fiction art and cinema. Featuring work for books by Isaac Asimov, E. E. ‘Doc’ Smith, Arthur C. Clarke, A. E. Van Vogt and Philip K. Dick, and film design for Ridley Scott and Stanley Kubrick, this volume brings together many rare and classic images that have never been seen or reprinted before. The first comprehensive retrospective of Chris Foss’s SF career. “Chris Foss’ name has become pre-eminent among sf artists... He is in love with the monstrous, with angular momentum, with inertia-free projectiles and irresistable objects.” — Brian Aldiss “[Foss’] creations are real machines, not just an artist’s dreams. They combine the two elements so essential to science fiction: realism and a sense of wonder... A medieval goldsmith of future eons.” — Alejandro Jodorowsky

    It is fitting, then, that the companion book to his movie Sleepy Hollow is a big and beautiful hardback, full of images that range from quietly eerie to eye-popping. The book contains Burton's sketches, paintings from production designer Rick Heinrichs and costume designer Colleen Atwood, and dozens of stills from the film itself. All of this is juxtaposed with Andrew Kevin Walker's screenplay of Washington Irving's story. The result is a unique opportunity to see how a film comes together. Bare words on a page result in Burton's quirky roughs, which are fleshed out into more detailed paintings by Burton and the production team. Finally it all comes together in photographs of the end product. In addition to an engrossing screenplay (Careful! It's far from a direct cribbing of the original story, so see the movie before reading too far if you don't want the plot spoiled), the reader gets to see the evolution of Ichabod's binocular glasses and creepy yet strangely charming autopsy instruments. The book as a whole illustrates one of the most interesting aspects of Burton's vision--frightening images are clearly meant to be seen as beautiful at the same time. The Art of Sleepy Hollow is entertaining on several levels: as a good story, as a step-by-step tour of the way a film's design comes together, and as a fascinating picture book for grownups. --Ali Davis

    160 illustrations including 100 in color.The Newmarket Pictorial Moviebooks, official companions to films, large format (8 3/8 x 10 7/8), heavily illustrated throughout, with color photographs, details on the making of the film, background on the filmmakers and cast.

    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.

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    An intimate journey into the mind's eyes of the two brothers who wrote and directed one of 1999's most unusual and successful movies of the year (over $170 million in the US and Canada; $350 million worldwide)--The Matrix grew out of the Wachowskis' fascination with ideas that challenge perceptions of reality, and the way that mythology and the Internet informed culture. It tells the story of a computer hacker Keanu Reeves) in the 22nd century who joins a band of freedom fighters (led by Laurence Fishburne) struggling against evil computers that control the earth. To sell their amazing script to Warner executives, the talented Wachowski brothers employed tom comic book professionals to visualize their script in the form of storyboards. This unique book will include the complete storyboards created for 219 scenes by Steve Skroce and others, the Wachowskis' complete shooting script, many of their original sketches, several gatefolds of Geof Darrow's intricate conceptual designs, annotations by Skroce and Phil Oosterhouse, and a section on scenes cut before filming, annotated, wioth script pages and storyboards. A must for all science fiction, cyberspace, comic book, and Matrix fans!This unique volume includes:• The shooting script by writers/directors Larry and Andy Wachowski• Black & white storyboards (600+) by Steve Skroce• Color storyboards by Tani Kunitake and Collin Grant• Conceptual drawings by Geof Darrow, presented in four double-sided gatefolds• Color renderings of Geof Darrow• Conceptuals by Warren Manser• Three storyboard sequences cut before filming• 32-page color album of memorable stills and poster• Commentary by the artists about their work on the film, interviewed especially for this book• Thumbnail sketches by the Wachowski Brothers• Introduction by Zach Staenberg, Oscar "RM" -winning Film Editor• Scene notes by Phil Oosterhouse• Deleted script excerpts• Film credits

    He is now unfit for conventional employment. Because of the addictive nature of these films, we the publishers cannot guarantee that your sanity won't be endangered by reading this book.

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

    Giger (1940—2014) reigned as one of the leading exponents of fantastic art. After he studied interior and industrial design for eight years at the School of Commercial Art in Zurich, Switzerland, from 1962 till 1970, he was soon gaining attention as an independent artist, with endeavors ranging from surrealistic dream landscapes created with a spray gun and stencils, to album cover designs for famous pop stars, and sculptures. In addition, Giger’s multi-faceted career includes designing two bars, located in Tokyo and Chur, as well as work on various film projects—his creation of the set design and title figure for Ridley Scott’s filmAlien won him not only international fame but also an Academy Award for Best Achievement for Visual Effects (1980).About the series:Each book in TASCHEN’s Basic Art series features:●a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance●a concise biography●approximately 100 illustrations with explanatory captions

    When the Colonial Marines vessel Sulaco docks with space station and military installation Anchorpoint, a new form of Xenomorph appears. Written by Hugo Award-winning novelist and "Queen of Cyberpunk" Pat Cadigan, based on Gibson's never-produced first draft.The Sulaco--on its return journey from LV-426--enters a sector controlled by the "Union of Progressive Peoples," a nation-state engaged in an ongoing cold war and arms race. U.P.P. personnel board the Sulaco and find hypersleep tubes with Ripley, Newt, and an injured Hicks. A Facehugger attacks the lead commando, and the others narrowly escape, taking what remains of Bishop with them.The Sulaco continues to Anchorpoint, a space station and military installation the size of a small moon, where it falls under control of the military's Weapons Division. Boarding the Sulaco, a team of Colonial Marines and scientists is assaulted by a pair of Xenomorph drones. In the fight Ripley's cryotube is badly damaged. It's taken aboard Anchorpoint, where Ripley is kept comatose. Newt and an injured Corporal Hicks are awakened, and Newt is sent to Gateway Station on the way to Earth. The U.P.P. sends Bishop to Anchorpoint, where Hicks begins to hear rumors of experimentation--the cloning and genetic modification of Xenomorphs.The kind of experimentation that could yield a monstrous hybrid, and perhaps even a Queen.ALIEN 3 TM & (c) Twentieth Century Films. All rights reserved.