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.

    From Sergei Eisenstein, a legendary pioneer in filmmaking and director of Battleship Potemkin, Film Form collects twelve essays written between 1928 and 1945 that demonstrate key points in the development of his film theory and in particular his analysis of the sound-film medium."By turns savagely polemical and whimsically humorous...Eisenstein's last book, like all his writings, is on fire with imagination...Jay Leyda, well-known authority on Eisenstein's work, has done an excellently thorough job of editing and translating."??—??Saturday Review

    Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted."Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production.Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.

    It is aimed at the novice, concentrating purely on the principles of shooting - still the best way to tell a visual story.Written in simple, easy-to-follow language and illustrated with clear uncomplicated line drawings, the book sets down the fundamental knowledge needed to achieve acceptable results.The book: - is a sister volume to Grammar of the Edit- has been extensively tested in Europe, Asia and Africa- lists, examines and explains the conventions and working practices of taking pictures.

    Working closely with Fangoria’s experts, including Editor in Chief Anthony Timpone, Adam Lukeman has compiled a must-have guide for casual horror fans and hardcore horror junkies with Fangoria’s 101 Best Horror Films You’ve Never Seen. With a brief synopsis for each of the included films, lists of cast and crew, “Terror Trivia,” and little-known facts about these lesser-known but must-see gems, Fangoria’s 101 Best Horror Films You’ve Never Seen offers a feast of gruesome information. Featured here are flicks that were dumped by their distributors or were initially flops, like Cherry Falls, Manhunter, and Pumpkinhead, foreign winners such as Cronos, The Vanishing, and Funny Games, and straight-to-video sleepers waiting to be discovered, including Shadowbuilder, Jack Be Nimble, and Nomads. There are even surprise entries directed by industry giants—movies like George A. Romero’s Day of the Dead, Brian De Palma’s Sisters, or Dario Argento’s Opera—that are frequently overshadowed by the filmmakers’ other, better-known works but are worthy of further examination. Entertaining and informative, Fangoria’s 101 Best Horror Movies You’ve Never Seen offers more than a hundred reasons to look beyond the often ho-hum Hollywood hype fests . . . when you’re really in the mood to feel your flesh crawl.From the Trade Paperback edition.

    So too the monsters that haunt the stories of the Judeo-Christian mythos and earlier traditions: Leviathan, Behemoth, dragons, and other beasts. In this unusual and provocative book, Timothy K. Beal writes about the monsters that lurk in our religious texts, and about how monsters and religion are deeply entwined. Horror and faith are inextricable. Ans as monsters are part of religious texts and traditions, so religion lurks in the modern horror genre, from its birth in Dante's Inferno to the contemporary spookiness of H.P. Lovecraft and the Hellraiser films. Religion and Its Monsters is essential reading for students of religion and popular culture, as well as any readers with an interest in horror.

    Discover hidden stories behind movies you love (and, er, don't love so much), and find out just why the most dangerous place to be is in a Tom Hanks film.Fascinating, surprisingly and hugely entertaining, this leftfield movie guide is gold for film buffs, and might just bring out the geek - hidden or otherwise - within you...Includes:Alternative movie endings that were binned Movie sequels you didn't know existedMassive box office hits that were huge gamblesThe collateral damage of Tom Hanks moviesHidden subtexts in family moviesDisastrous things that went wrong on modern movie sets...and much, much more!

    Now award-winning illustrator Peter Kuper reimagines Conrad's masterpiece for a new generation, transforming this dramatic tale of madness, greed, and evil into something visually immersive and profoundly complex. Drawn in pen, black pencil, and ink wash reminiscent of the etchings and lithography of Francisco Goya and Honoré Daumier, Kuper's Heart of Darkness captures the ominous atmosphere and tempo of Charles Marlow's journey up the River Congo.Kuper's images and concise text confront Conrad's colonial attitudes and systemic racism yet leave room for readers to engage with these issues on their own terms. Longtime admirers of the novella will appreciate Kuper's innovative interpretations and see Conrad's opus with fresh eyes, while new readers will discover a brilliant introduction to a canonical work of twentieth- century literature.

    In many ways, Tarantino is the paradigmatic 1990s success story: from high school dropout, toiling anonymously in a California video store, taking acting lessons, to world acclaim, with Pulp Fiction as the Grand Prix winner at Cannes.With his first film, Reservoir Dogs, the then 29-year-old became an inspiration for filmmakers even younger than himself on how to produce stylish, subterranean cinema. (Not that his extra-violent imitators, labeled "Tarantino school," could match the wit of his scripts, his talent with actors, and the vivacity, energy, and originality of his shooting style.)Tarantino, turning famous, remains the same manic talker who is obsessed with American pop culture and is endlessly enthusiastic about his favorite movies and moviemakers. Informal, gregarious, accessible, he has been a journalist's dream, for his wonderfully expressive, almost stream-of-consciousness chatter.This collection is the first book of Tarantino interviews to be published. The selections are his most uninhibited, far reaching, and revealing. They demonstrate conclusively that the source of his world-renowned pop-culture dialogue is his own brash, vivid, virtuosic conversation."I realized I didn't want to be an actor," he says. "I wanted to be a director. My favorite actors were character actors and I realized they still had to read for parts. I didn't want to be fifty years old and still reading for parts. I wanted some control over my destiny, and it seemed to me that directors did."Gerald Peary is a film critic and columnist for the Boston Phoenix, a professor of journalism and communications at Suffolk University, and a lecturer at Boston University. He is also Acting Curator of the Harvard University Film Archive.

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

    Film geeks, cinema snobs, VHS collectors, and anyone else who likes their entertainment a little on the weird side will appreciate author Danny Peary’s in-depth approach to their favorite sci-fi films ranging from Barbarella to Liquid Sky.

    Created in full collaboration with ABC Entertainment and ABC Studios, this is the full and only fully licensed and comprehensive reference to all things LOST, and it includes an exclusive forward by executive producers Damon Lindelof and Carlton Cuse.

    This compendium includes commentary from director Andy Muschietti; producers Barbara Muschietti, Dan Lin, and Roy Lee; the acclaimed ensemble cast; and other creative players who helped bring a new, disturbing vision of King’s perennial bestseller to life.

    Ben Urwand reveals this bargain for the first time--a "collaboration" "(Zusammenarbeit)" that drew in a cast of characters ranging from notorious German political leaders such as Goebbels to Hollywood icons such as Louis B. Mayer.At the center of Urwand's story is Hitler himself, who was obsessed with movies and recognized their power to shape public opinion. In December 1930, his Party rioted against the Berlin screening of "All Quiet on the Western Front," which led to a chain of unfortunate events and decisions. Fearful of losing access to the German market, all of the Hollywood studios started making concessions to the German government, and when Hitler came to power in January 1933, the studios--many of which were headed by Jews--began dealing with his representatives directly.Urwand shows that the arrangement remained in place through the 1930s, as Hollywood studios met regularly with the German consul in Los Angeles and changed or canceled movies according to his wishes. Paramount and Fox invested profits made from the German market in German newsreels, while MGM financed the production of German armaments. Painstakingly marshaling previously unexamined archival evidence, "The Collaboration" raises the curtain on a hidden episode in Hollywood--and American--history.

    Taking up such figures as Giles de Rais, Erzebet Bathory, the Marquis de Sade, El Greco, Gustave Moreau, Andre Breton, Voodoo practitioners, and Chinese torture victims, Bataille reveals their common obsession: death.This essay, illustrated with artwork from every era, was developed out of ideas explored in Erotism: Death and Sexuality and Prehistoric Painting: Lascaux or the Birth of Art. In it Bataille examines death—the "little death" that follows sexual climax, the proximate death in sadomasochistic practices, and death as part of religious ritual and sacrifice."Bataille is one of the most important writers of the century."— Michel FoucaultGeorges Bataille was born in Billom, France, in 1897. He was a librarian by profession. Also a philosopher, novelist, and critic he was founder of the College of Sociology. In 1959, Bataille began Tears of Eros, and it was completed in 1961, his final work. City Lights published two of his other works: Story of the Eye and The Impossible. Bataille died in 1962.